How to Survive an International Press Tour

by Alafair Burke

Okay, that headline’s a little misleading.  It sounds nifty, though, doesn’t it?  It should.  I stole it from none other than Tom Hanks, who recently wrote a guest column for Entertainment Weekly (aka My Bible) to explain how he got through a “world-wide promotional tour” for his new film, Larry Crowne, without losing his mind.

I happened to read Hanks’s column as I was returning from my own tour to promote my new book, LONG GONE.  This is fantastic, I thought.  I can sort of bond with Forrest Gump over a shared experience.

But even the headline was a reminder that we existed in very different worlds.  International Press Tour?  Here’s Charlie Wilson sipping wine with his Corona typewriter in France.

Here is a picture of me (or at least part of me) being super excited about the extra leg room I scored in an exit row seat!

His column is also filled with references to the Concorde, his Delegation, and VIP green rooms.  I have somehow managed to miss all of those on my seven book tours.

But despite the gentle reminders that Robert Langdon lives large, I did find some of his advice helpful.

Like this one: “Prepare the Obvious Answers and Vary All Anecdotes.”

That’s good advice.  On my first radio interview after my first novel was published, the venerable Leonard Lopate asked me why I liked crime fiction.  I honestly don’t remember the words that came spilling from my mouth, but I do remember leaving the radio studio wishing I could have a do-over on the last thirty minutes of my life. If only I had Larry Crowne’s advice.

On a book tour, you will be expected to talk about the plot of the new book without giving too much away.  You will be asked where you get ideas.  You will be asked about your writing schedule.  Get that stuff down cold.

Here’s another piece of his good advice: “Be a Tourist, But For No More Than 30 Minutes a Day.”  Now, Chuck Noland’s* version of 30-minute-tourism means a “saunter through the Rodin Museum.”  My version usually means finding the best food stand in town.  But still…

Another word of advice from Woody: “Put All Vices on Hold.”  Um, I don’t know anything about that.  See above note about food stands. 

“Survive the Hotel Room.”  Good advice here: Don’t spend an hour flipping channels on the hotel TV.  They won’t be adding any more stations, and you will wind up watching cable news or Law & Order SVU.  Bring your own entertainment: a good book or shows downloaded to your iPad.

I would like to add a few lessons of my own that Paul Edgecomb omitted.

Pack light.  Duh, you say.  Packing light is rule number one of Book Tour 101.  But I don’t mean pack sparingly.  I mean pack lightweight.  I’ve heard some authors say they wear the same two outfits throughout tour, washing their undergarments in sinks as necessary.  That is not how I roll. 

No, I will never stop using this picture in my blog posts!

In my one little carry-on, I managed to tote no fewer than seven complete outfits, and that’s because I pack “light.”  This dress, for example, is basically made out of tissue paper.  When rolled into a tight ball, it takes up less room than a cell phone.

 

 

Get Yourself Right. 

Now, maybe you’re one of those people who can feel fine even if you don’t look fine.  Or maybe you’re naturally beautiful and don’t need any help.  Or maybe you’re a guy.

But for the rest of us: Get Yourself Right.  By this, I mean take care of all your grooming needs before you hit the road.  You won’t have time for hair cuts, pedicures, and pore-cleansing masks on tour.

It’s no fun catching a glimpse of the back of your head in those weird three-way hotel mirrors and seeing a bunch of gray roots you missed in the last do-it-yourself job.

That’s just an example, of course.  I don’t actually have any gray hair.  Cough.

And my best piece of advice: Bring Out Your Friends.

Jimmy Dugan may have a Delegation to keep him company, but authors are basically on their own.  That’s where the friends come in.  And this one is a three-parter.

A) Plan joint events with fellow authors.  Thanks to a joint event with Phillip Margolin, we celebrated afterward with a fantastic dinner.  (See ignored advice above about vices.)

And thanks to Barbara Peters at Poisoned Pen, I spent one glorious tour afternoon at the Biltmore Resort with old friends like Michael Koryta, Laurie King, and Jan Burke, plus new ones like Marcia Clark, Sophie Littlefield, and Juliet Blackwell.  

 Yes, Laurie King and Jan Burke really are this fun together

Who knew book tour could be so darn fun? B) See your in-town friends

After every book event, I had dinner with people I knew from the local area.  It’s a time to be with friends you’ve known for years.  To hear about their jobs and their children and their remodeling projects.  It’s a chance NOT to be asked about your writing schedule and where you get your ideas.  It’s a time to remind yourself that this world is not all about you and your new book.

C) Drum up attendance from reader friends

You’ve probably all heard the nightmare book tour stories about walking into the store to find two people in the audience, one of whom is looking for the bathroom. You never know what the turn-out will be.  Even major bestsellers have slow nights.

But turn-out isn’t only about the numbers.  Some of my best events have been tiny, but with loyal readers who know the work and enjoy talking about it.  Don’t be afraid to know your readers and to let them know you.  They will show up.  They will support you.  They will make your book tour better. 

Added bonus: They’ll remember to take pictures of your events.

Courtesy of Pamela Cardone (note shirt that can also be rolled into size of cell phone)

Courtesy of Carl Christensen

One reader-friend, Carol Johnsen, even made me this framed “Faux Duffer” to keep me company on the road.

 

My final piece of advice for book tour is to celebrate the good news and brush off the disappointments. 

Thanks to many of you, I’ve had a lot to celebrate this time around.  Thank you for showing up at stores and making me feel welcomed and appreciated.  Thank you for helping LONG GONE get to a third printing after three weeks.  Thank you for giving it enough attention that it got shout-outs from People Magazine and the Today Show.  And thank you for all the wonderful reviews you have posted online and shared with your friends.

With all this thankfulness, I am also thankful to be home.  The tour is over.  I’m with the husband and the Duffer.  And I have a sudden, inexplicable urge to watch Bosom Buddies.

For the comments: What is your favorite travel advice – whether tour related or otherwise?  Bonus Question: Your favorite Tom Hanks role?

* You have probably figured out by now that all of these names are characters portrayed by Tom Hanks.  If you did not realize that, you probably do not call Entertainment Weekly your Bible, and I apologize for the confusion.

Children & Pets

By Allison Brennan

After two weeks in New York and a week of late nights working on the copyedits from hell, I’m brain dead. I couldn’t write a coherent blog if I tried. So rather than embarrass myself in cyberspace where my words will stay around forever even if I delete this blog at a later date, I thought you might enjoy pictures of my pets.

Yesterday, we brought home our newest four-legged family member: Lewis.

Lewis is an 8-month-old black lab whose owner couldn’t keep him because she was working full-time and going to college, and as we all know, puppies need a lot of attention and supervision. An 8-month-old lab, I’m discovering, is like a toddler. We had to dog-proof the house because Lewis picks up everything in his mouth, including a Lego R2-D2, dirty socks, and doll shoes. The kids have closed off their bedrooms (thank God dogs don’t have thumbs and can’t turn knobs) and so we only have to keep the living areas free of small or precious items.

Lewis is very well-behaved and friendly — and extremely playful. Which is great with you have two acres and five kids, but not-so-great when you’re exhausted. The big plus of having a lab is the short hair (no shedding!); the big negative is the drool.

Nemo has been hiding out in my office all day, and I’m not surprised. He was here first. He saw Lewis through the french doors and every hair on body rose. Between his fear and banishment, he’s pretty damn pissed. We’re introducing the animals tonight (after my daughter’s volleyball tournament.) And we’re getting a trainer. As much for Lewis as for us 🙂

Nemo joined our family last year, as an 8-week-old kitten from the pound. He’s orange and white, which is my favorite coloring for cats. He was so teeny when he came home! Now he’s a big cat.

This is Nemo playing the role of Gulliver Kitty in my Snow Village when he was four months old.

 

This is Nemo with a stuffer reindeer he purloined from the Christmas box.

 

Nemo in the sink (this was taken in April. He’s bigger now, but cats bend pretty easy and he still fits. Though he fills it up now … )

Last month, I heard this low motor in my office, and realized that Nemo was snoring. He didn’t even wake up when the camera flashed.

 

I never thought I’d like chickens–other than baked, fried, or grilled–but these two hens have grown on me and it’s nice to never have to buy eggs from the store. Except–considering how much they eat, the coop we bought, and the fence my husband built to protect them from those higher in the food chain–our eggs are probably costing us $50 a dozen. 

 

Meet Daisy and Nugget. Nemo likes to watch them. We’ve told him they’re not his chickens; he doesn’t think it’s fair we don’t share.

Chickens actually make fun pets. They’re tame, we can pick them up, they look hilarious when they run, and they put themselves to bed every night. We let them roam our yard (we live in the country on 2 acres) until we brought home Lewis. Now they’re behind a new fence (not the one you see here.) Here they were eating squash. They also love cucumbers, watermelon, and raisins.

After all this, I don’t know what I’m going to do if we ever go on vacation! Well, my kids have enough friends, I’m sure we’ll find someone to house sit. Our pets tend to be very spoiled. 

And because I called this post “Children & Pets” I have one more picture for your enjoyment, taken nearly three years ago when my sons were 7 and 4. Right after we bought a new, front-loading washing machine …

 

I’m at a volleyball tournament all day and won’t be able to comment until tonight, but tell us about your newest addition to your family, canine, feline, fowl or human!

 

Workaholics not so anonymous

by Alexandra Sokoloff

I don’t have a problem.

It’s the easiest thing in the world to say. Easy to say because this is America, where hard work (note that it’s “hard” work, not “easy” work)  is not just rewarded, it’s canonized.  Easy to say because “all my friends do it.” Easy to say because people all around you would kill to have your career, so you should be grateful. Easy to say because IT WORKS.

Writing is my job. No one supports me—I do this for a living. And I do make a living at it, which all my life I was told couldn’t happen. Well, I’ve made it work for pretty much my whole adult life.

So I never thought I had a problem. Why should I think that? In Hollywood, workaholism is the job description. You better love it, want it, because you’re going to be doing it every waking hour, and by the way, who told you you needed eight hours of sleep? Workaholism is the standard for Los Angeles; ambitious people from all over the country, all over the world, come here since to “make it” and that’s created a whole culture of ambition—and workaholism. I’ve been immersed in it so long it was the only thing I knew. It was a huge shock to live in the South and be surrounded by people who didn’t live that way; I felt like I was set on 78 rpm while almost everyone else was on 45.

And writing is one of those things that you can never fully turn off, anyway. Maybe it IS just the job description.

Add to that that given the recession, we’re ALL working too much. All of us who are lucky enough to have jobs, that is, and with so many people who don’t, it’s the last thing you’re going to complain about. All my friends with “real” jobs are working harder than ever before because staffs have been cut everywhere and the staff that remains is expected to pick up the slack. And hey, at least it’s a job. So given the national (world) circumstances, it’s crazy to even bring up the question.  Isn’t it?

Is there such a thing as workaholism, anyway?  It’s not in the Diagnostical and Statistical Manual of Mental Disorders (a crime writer’s favorite light reading), like the other isms. There may be treatment centers for it in California, but then we also have treatment centers for workaholic pets. If you see what I mean.

So – iit’s a time that no one can complain about working, all my friends do it, and it works.

And yet… I think I have a problem.

I don’t know what exactly to do about it. You can stop alcohol and pills and gambling and Internet porn. You can reprogram food binging. You can’t quit work cold turkey.

But I’m not naive about treatment for this things. I was a functioning anorexic for a while (another “ism” that’s easy to dismiss if you’re rewarded for it). Never to the point of hospitalization, but certainly flirting with the deep end.

So how did I get out of it? I didn’t seek treatment, but it was about that time that I started practicing yoga and meditation (which I didn’t know at the time is considered one of the most effective treatments for anorexia), and some in-depth journaling (therapeutic writing instead of professional writing). The obsession faded, maybe to be replaced with work – although the work was already there.

So I know the treatment for balance is more yoga, more meditation, more “self-care”, as a therapist would say.

This is all coming up because I’ve been working my way through Julia Cameron’s The Artist’s Way, as I mentioned in the discussion here on Monday.  I’d been aware of Cameron’s creativity books and workshops for years, but I never knew that she used principles of recovery to break through creative blocks. There’s some serious healing to be had in that book.

And this week I got to a chapter on workaholism (and other blocks to creativity).  Well, I’d been with the program up until then, but workaholism as a block to creativity? That does’t even make sense.

She poses a list of questions entiled The Awful Truth which begins:

1. Tell the truth. What habit do you have that gets in the way of your creativity?

I read that and scoffed. Is she kidding? I’m creative 12 hours a day. I have so many creative projects going I can’t keep them straight.  I have four book contracts, two spec books, I’ve got the first book up in my new e-book business, I’ll have the second up next week….

Oh.

I see.

Hmm.

2. Tell the truth. What do you think might be a problem? It is.

Okay, so my problem is overextension. Yes, it is a problem.

3. What do you plan to do about the habit or problem?

So here we are. I can’t stop working, and I have no idea what I am going to do about the problem, but I have taken the first step. I’ve admitted I have a problem.

And my question is (Tell the truth:) Do you? 

Here’s an interesting tidbit for discussion. Professor Bryan Robinson, a major researcher in this field, identifies four kinds of workaholics:

– Savoring Workaholics, (low work initiation, low work completion, high procrastination)

– Attention Deficit Workaholics (high work initiation, low work completion, high procrastination)

– Bulimic Workaholics (high work completion)

– Relentless Workaholics (high work completion).

I haven’t been able to find more complete definitions, but certainly I am familiar with the low work completion/high work completion gap. Busyness is not working, as far as I’m concerned; the only work that counts is the work that gets finished. So I’m definitely not one of the first two. I can’t figure out what a Bulimic workaholic would be, which maybe means I am one, but I think relentless is more apt.

Anyway, thought I’d throw that in there.

But what do you guys think? Is workaholism just part of a writer’s job description, or a serious behavioral dysfunction? Is it a problem, but better than the alternative? Is it okay as long as it works?

Anyone out there have anything to confess?

And even if none of this applies to you, do you think that we’re quietly headed for a national problem because the recession is forcing all working people to overwork?

– Alex

RAGE

by Stephen Jay Schwartz

 

I’m not suggesting that rage is the healthiest way to deal with your problems. In fact, it’s probably pretty high on the list of worst options out there.

Rage isn’t for everyone. But there was one time, just once, when it felt just right.

What got me thinking about this, what brought the memory back, was watching the Charles Bukowski documentary, Born Into This, and seeing Hank (they called him Hank, Charles was his pen name) visit the house where he grew up and was forced to endure his father’s violence. From ages six to eleven Bukowski was beaten with a razor strop three times a week. His father gave various reasons for the beatings, but most times it was justified because Hank had allowed a single hair of grass to stand above the rest when he mowed the front lawn. His father would lean into the grass and study his son’s work with a ruler, then stand up, excited, yelling, “Aha! You missed one!”

He was six years old when it started. His mother stood in the doorway, watching his father beat him until he cried, until he bled. When it was over, he asked his mother why she didn’t try to stop it. “The father is always right,” his mother said, and walked away.

I’ve read this account in interviews with Bukowski, seen it in documentaries, watched it unfold in his novels, which are highly autobiographical. All I can say is…no wonder. If you’ve read his work, no wonder.

It fills me with rage. Bukowski never really got back at his father, except for the one time when he was around sixteen and his father tried to force his face into his own vomit on the floor, “This is the way we teach a dog not to shit in the house,” and Hank turned around and punched him, knocking him to the floor. His mother lunged at him, yelling, “You cannot hit your father!” She scratched his face with her nails until he bled. He left after that.

I keep wishing he had done more. I want vengeance. If I were writing this in a mystery novel I’d have the teenage boy tie up his father and beat the man so hard he’d be maimed for life.

Fiction allows us to live out our fantasies. The real world is complicated. Hank never did beat the living hell out of his dad. And, in his poetry he says, “later in life I made him pay somewhat. but he still owes me. and I’ll never collect.”

Bukowski never got the closure he sought. There’s tremendous anger when he writes about his father. Every time I read his work I see it. It makes me see red.

I’ve had a few rage moments in my life. There was one that stood out, however, for the good it did. For me, at least. I’ve never regretted it and it gives me a sense of satisfaction to this day. I don’t know what the therapists would say. I guess it depends on what school of psychology they practice.

It happened when I was seventeen years old. And it involved my father as well.

My parents divorced when I was fourteen. My father, a pediatrician, left my mother to marry his nurse, who was ten years his junior. They had been secretly seeing each other for six years before the split. In the divorce settlement my father said he would send me to the college of my choice.

When the time came my father reneged. My mom fought back, which prompted my father to try a different tactic. He invited me to lunch.

I pulled up to his pediatrics office and he peeked in my car window and suggested that he do the driving. He wanted to drive his new Mazda RX7. He used to have this old 280Z which I loved and I asked him if he would sell it to me when he bought something else and he said, “No, I don’t want you driving that car, it’s too dangerous.” So he traded it in and got his hot little RX7. I ended up purchasing an old Mustang for $500. It broke down consistently every other week. One of its deficiencies was that it lacked handles to open the doors from the inside. You had to find the little metal device I left on the floorboard and slip it into a mechanism under the arm rest then jiggle it until the thingy caught and the door popped open. It was a pain in the ass, but you got used to it.

“That’s all right, dad,” I said. “I’ll drive.”

He stepped into the death-trap warily and closed the door. I followed his directions to the restaurant he’d chosen. In all my life I’ve eaten in very few actual dives. I did have one favorite joint where my room-mates and I ate during college; a greasy place where a decent scrambled egg and toast could be had for under five bucks. The restaurant my father chose was worse than that.

We sat in a booth and ordered whatever. I don’t remember the meal because I never touched it. The moment the waitress left our side my father began.

It was a long, rambling, monotone speech. The words came out rehearsed, dull, orchestrated. They weren’t his words. He’d been coached. It hurt him to say the things he said; I could see it in his eyes. But his eyes didn’t stop him from saying it.

He said things like, “You’re being selfish, Stephen, wanting to go to college out-of-state. You’re being selfish for making your mother take me to court over this.  It’s time for me to be selfish. I’ve always done what others have expected me to do and now it’s time for me to do what I want to do. I really don’t believe you’re doing everything in your power to keep your mother from taking me to court.”

It went on and on the things he said. My mother wanted to take him to court about the college thing but I wasn’t on board. Her lawyer said I’d have to testify against my father on the stand and I wasn’t about to let that happen. And yet my father blamed me.

When he left my mom he moved in with his lover whom he married and was suddenly father to her three young boys. I don’t know what had become of the fathers before him. After he left, my dad said he wanted me to move in with him and his new family.

“I have everything I ever wanted now, except for you,” he said.

“My mom has nothing now, except for me,” I answered.

“She has that house,” he corrected. Yes, she had the house that she would sell and it was her life insurance policy for the next many years.

And then he offered me a deal. He would buy me a new saxophone if I came to live with him. I was using an old Conn alto sax and it was pretty good but I couldn’t really hit the high or low notes and it was beginning to hold me back. I could have used a new horn. Even then, though, I knew this was wrong. “I can’t believe you’re trying to bribe me with a new sax,” I said.

At that moment I knew what it was to lose respect for your father.

After I rejected his offer he made a decision in his mind. He figured if I wasn’t trying to be part of his new life then he didn’t need to be part of mine. I know his wife was instrumental in helping him arrive at this conclusion. It made it easier for him to say the words he said later, when I was seventeen, at the restaurant near his office.

He droned on and on at the restaurant and I noticed the other diners growing quiet. I saw them silently chewing, placing utensils gently onto their plates, trying not to miss a word. I felt their sympathy in the curves of their backs and their sideways glances and bowed heads. He continued talking but I didn’t understand what he was saying. It was water over rocks. I floated up and away and saw us both from above. I saw my father balding at the top, speaking his monotone speech to the boy slumped in his seat, staring across the table and not seeing a thing.

And still his words came out. They rolled on and on, hitting the points he had practiced. This was not the man I knew. I remember a doctor who loved his patients, who loved other children if not his own, but I also knew him as someone struggling to love and not knowing how. He was a child in the world, he knew nothing of its ways. He fell for every scheme, invested in every stupid venture, believed every advertisement. He was too kind and trusting and there was always someone around to take advantage of his naivete. Sometimes that someone was a woman.

At once it came to me. He didn’t have to play the victim. He didn’t have to agree to be manipulated. He could have turned to his wife and said, “No. I will not do this. This is my son.”

I decided I’d had enough.

I felt it rise from my feet, into my legs and my gut. I looked into his hurt eyes and heard his soft-spoken words and I felt the rage rising higher, into my chest, my arms, my back, and when it reached my head I stood up.

I walked away. I left the restaurant. I looked back and saw my father nervously paying the check, hiding his face from the diners around him.

I went to my car, my five hundred dollar Ford with the doors that didn’t open from the inside. When he came out I had it idling. He opened the passenger-side door and sat down. I didn’t wait for him to close the door or buckle in.

I took off.

I was a pretty good driver at seventeen. There wasn’t much to do in New Mexico, but drive, and when you had an old Mustang with a V8 engine you could really open things up.

I took that car to seventy, turning corners, hearing the bald tires squeal through intersections and stop signs. I saw my father’s shaky hands struggle to pull the seat belt over his shoulder, to force it into its latch. I smiled to myself, I knew that seat belt was a bitch.

I worked that fucking car like Steve McQueen in Bullitt. The moment was mine, and it was beautiful. From somewhere off to the right I heard the sounds of his whimpering, or yelping, or protestations. It sounded so much more alive than the speech I’d heard at the restaurant.

I returned my father to his office in less ten minutes.

I came to a hard stop. He stuck his hand where the door latch should have been, his fingers fumbling wildly under the arm rest in a desperate attempt to escape.

“You have to use the little metal thing on the floor, if you can find it,” I said quietly, calmly, a little rehearsed. He finally stuck his hand out the window and opened the door from the outside. He leapt out and turned around to face me.

“You’re terrible! You’re selfish! I’ve never seen anyone so self–“

His words were lost in the sound of the gunning engine when I hit the gas, his figure disappearing in a puff of swirling, black smoke. I saw him there for a moment, the well-respected pediatrician standing in the parking lot of his office building, shaking, screaming at the dangerous boy in the not-so-dangerous car. There were patients leaving their cars, heading to his office, observing the scene like the diners at our restaurant observing mine.

I had other moments of rage as the years went on. But he never saw those. They were directed inward, anyway, and didn’t have quite the same dramatic effect.

But that day in the car was magic. It felt right. It was me sticking up for me. It felt like it was enough, maybe enough, to make up for all that would come.

Bukowski had it worse. Beaten with a razor strop from ages six to eleven. And all he did was throw a punch, in the end, to knock the man off his feet. If it had been me…

But we never really know what we’ll do in a situation. Bukowski did what he could and internalized the rest. It made him the writer he became. “It was great literary training,” he said. “The man beat the pretense out of me.”

I hold my rage in my heart, sometimes right near the surface, and I use it when I can. I tap it for my writing, when the time is right. Like now.

Caught Red-Handed?

Zoë Sharp

Everyone who knows me will be well aware by now that I’m very good at saying the wrong thing at the wrong time. Why do you think my Murderati blog tag line is ‘Changing Feet’? It’s because, often, the only time I open mouth is to do so.

But I’ve been doing some research recently about body language, which is a fascinating subject for anyone, but absolute gold for writers. In any scene with dialogue backwards and forwards between two characters, it’s invaluable to subtly get across an underlying message by how the characters stand, look, or what they do with their hands.

I’ve just been finishing off writing a short story at the moment. It’s set in a country where people tend to be more expressive than us stiff-upper-lip Brits – where they talk with their hands. In fact, at one point I’ve written the line:

‘Put handcuffs on half the guys in this part of the world and they’d be struck instantly mute.’

Our hands are often the most expressive part of us when we talk, and they give away more than we realise. Not only that, but they can get us into serious trouble of the kind Thing from The Addams’ Family could only dream about.

For instance, back in May this year, a prominent British surgeon was arrested in Dubai on a charge of ‘public indecency’ for what he describes as little more than a shrug at another driver who had been flashing his lights at him in traffic.

According the report in the Belfast Telegraph, the doctor said: “I raised both my hands to say, ‘What do you want?’ but he pulled back [to read the number plate] and then took off and turned right. He alleges I stuck a finger at him but I raised both hands. I am sure he must have seen them at an angle, and that was offensive to him.” The doctor could face a long wait for a trial, and then a prison sentence as a result.

Many gestures seen as perfectly innocuous in some countries, are highly offensive in others. When then-President George W Bush wanted to show his support for the Texas Longhorn football team, for example, he made this gesture:

Of course, Mr Bush was probably unaware that although in the States this gesture made with an open thumb means ‘I love you!’ With the thumb curled in over the middle fingers, as shown, it is not only the sign of the Longhorns, but when rotated, in South America, it signifies ‘protection against bad luck’, and when pointed, in Malta and Italy, ‘protection against the evil eye’.

But made straight up like that, in Mediterranean countries, it means ‘your wife is being unfaithful’. Not the kind of statement you want to make unwittingly in public.

Another common hand gesture is the OK circle formed between forefinger and thumb:

In Europe and the States, this does indeed mean ‘everything is A-OK’. In Japan, it means ‘money or coins’. But in the Med, Russia, Brazil and Turkey, however, it indicates, ahem, ‘an orifice’, ‘sexual insult’, or implies ‘you are a gay man’.

One of the most famous gestures is the V sign. British Prime Minister Winston Churchill used this extensively during the Second World War, both with palm facing his audience …

… and with the palm away from the audience:

With the palm facing, it is the classic ‘V for Victory’ meaning a battle won. It also means ‘two’ in Europe, and apparently ‘go to hell!’ in Greece.

Of course, Churchill also used the two-fingered salute the other way around, which was much more of an ‘up yours!’ gesture to the enemy. This also means ‘two’ in the States, as well as ‘peace’ in France.

Steve McQueen famously also used the ‘up yours’ version of the victory sign after his race at Le Mans in 1971:

Nobody’s quite sure why he did this, but the origin of the gesture comes from the battles of Crecy and Agincourt during the Hundred Years War between England and France. The English employed Welsh archers – longbow men – who routed the enemy so effectively that if any were captured the French often cut off the archer’s first two fingers to prevent them being able to draw back a bowstring. If the archers came across any French on the battlefield, therefore, they would waggle those two fingers to show they still had them firmly attached. Maybe Steve was sticking it to the French?

Even a simple thumbs up can be fraught with difficulty:

The widespread meaning is ‘good’, ‘OK’ or to indicate you’re hitchhiking. In Europe, it also means ‘one’, and in Japan ‘man’ or ‘five’. In Greece, however, if thrust forwards it means ‘up yours!’ and with an upward jerk in Australia, ‘sit on this!’

Whereas this gesture …

… simply means ‘the good news is the surgeon managed to sew both hands back on after my industrial accident’ but ‘the bad news is, he didn’t quite get things back where they should be’.

Anyone who remembers the Mike Myers character of Doctor Evil, will be familiar with this gesture:

With the thumb out (OK, so not necessarily with the finger to the mouth like this) the gesture means ‘hang loose’ in Hawaii, or ‘do you want a drink?’ in Holland. However, when the thumb is curled in, more like this …

… then the gesture becomes more complicated. In South America it simply means ‘thin’, in Bali it means ‘bad’, but the Mediterranean it indicates ‘small penis’. It can also show a deep-seated insecurity on the part of the gesturer.

The pointed forefinger, like this …

… means ‘two’ in Europe, but only ‘one’ in Britain, Australia and New Zealand. In the States, it tends to be used to summon a waiter, but don’t try that in Japan, where the gesture is considered an insult.

The Japanese can be easily offended by your hands, as this is another insulting gesture …

… but in Western countries it is merely the indicator for ‘four’.

Some gestures can have universal overtones. This one is recognised as meaning ‘stop!’ just about everywhere …

… but it also means ‘five’ in western countries, and ‘go to hell!’ in Greece and Turkey.

Double open palms is also a contradictory one …

It means ‘ten’ and ‘I surrender’ in the west, as well as attempting to convince the audience that the speaker speaks the truth. In Greece, however, it means ‘up yours – twice!’

People use hand gestures all the time when they speak in public to try and convey sincerity, authority, or benevolence.

The late Saddam Hussein, when he was still in power, would often make open-handed gestures which are usually used to imply an open, honest approach:

An experiment was tried using a group who had to list their responses to various speakers. It was found the people who pointed the finger while they spoke were considered ‘rude’, ‘aggressive’, and ‘belligerent’ …

… whereas those who squeezed a forefinger and thumb together were seen as ‘thoughtful’, ‘goal-orientated’, and ‘focused’:

And, as a generalisation, those who put a hand or finger over their mouth when they speak are reverting to the childhood habit of trying to prevent themselves being untruthful.

I make no judgements here, by the way. I simply trawled the internet looking for examples of the various hand gestures I wanted to illustrate. What – and who – came up was entirely the luck of the draw.

So, I leave you with a final gesture, one that is truly universal in every sense of the word:

Live long and prosper!

So, ‘Rati, do you have any other misinterpreted gestures for me? (I’ve left out the more obvious insults, as these don’t tend to have a secondary meaning!)

Next week, incidentally, I’ll be at the Theakstons Old Peculier Crime Writing Festival, part of the Harrogate International Festival. Looking forward to seeing some of you there.

This week’s Word of the Week is antisyzygy, meaning a union of opposites. It’s also a really good score in Scrabble …

AN EYE ON THE CORONER OFFICE…

 

 

If you happen to catch me testifying, perhaps in court, or in an old case from Court TV, you may notice how very precise – finicky, even – I am in the words I use. In court, every word counts – every sentence is transcribed, kept forever in a searchable database, pored over and used to attack or support opinions as the trial or legal process continues, sometimes for decades.

Largely because of this, forensic pathologists are very specific in their language; our terminology is consistent throughout the forensic community, with some definitions that don’t necessarily translate cleanly into the civilian arena. For example, an emergency room physician examining a man with a slashed throat might describe the injury as “a transverse 5 inch laceration below the level of the thyroid cartilage”. For forensic pathologists, the term “laceration” refers exclusively to tearing of the tissues caused by blunt trauma; we would say the man with the cut throat had a “5 inch incised wound”.

We’re also specific in how we describe ourselves professionally. I’m a forensic pathologist, a New York City medical examiner for over 20 years now: I am not a coroner. The positions are fundamentally different and have a very different history.

The word coroner (from the Latin corona, “crown”) is a title that goes back to medieval England, to just after the Norman invasion in 1066 (illustration below: King Harold dies at the Battle of Hastings, nailed by an arrow in the eye). The coroner was the King’s agent, originally responsible for protecting the crown’s interest in legal matters. England still has a coronial system; English coroners hold both medical and law degrees. The coroner considers all the information from the investigation, and then decides if there are grounds for a legal trial. The evidence is presented in a court-like setting in a procedure known as an inquest, over which the coroner presides.

 

By contrast, in the US, most communities consider the basic facts of a murder in a Grand Jury, in which the prosecutor has a series of witnesses testify to civilian jurors who must then decide whether or not to indict a suspect on the basis of the evidence presented. In some areas, prosecutors have a larger amount of discretion in deciding whether a prosecution will go forward, and gather evidence in a series of depositions.

In contrast with England, where the court appoints the coroner, the American coroner is an elected official. Because this country is vast, with huge, sparsely populated rural areas, which see few deaths each year, local counties may not be able to adequately fund medicolegal death investigation. The quality varies widely across the nation – I highly recommend the recent NPR series about the state of death investigation in the US; if you’ve been bred on a diet of CSI and The Forensic Files, I think you’ll find it quite an eye-opener. There may be a slight bias towards the sensational, focusing almost exclusively on epic failures in the system, but I think it’s great that someone’s shining a light on a critically neglected issue.

As the NPR report indicates, both coroners and forensic pathologists vary widely in competency and experience.  Medical examiners must be pathologists formally trained in forensic pathology; coroners don’t have to be medical doctors – indeed, in some jurisdictions, the coroner may be the guy with a truck large enough to move a body. The coroner often has a tightly limited budget, and with each case, he must decide whether he can afford to pay for an autopsy; the financial and political pressures can be extreme.

In situations where he or she deems an autopsy necessary, the coroner refers the autopsy to a local or regional pathologist. Again, the amount of forensic training that coroner’s pathologists have had is very variable; the worst-case scenario involves doctors with minimal experience forced to rely on pictures in forensic textbooks.

If you’re reading this blog, you probably know this, but I suppose I should go over some basic definitions. A pathologist is a physician who makes diagnoses by examining specimens taken from patients. A surgical (aka an anatomic pathologist) is the person who examines the biopsy of that arrestingly odd-looking growth on Aunt Tillie’s face; surgical pathologists also do autopsies. An autopsy is an examination of the body after death performed in order to get as much information as possible about the cause and circumstances of that death. The body is examined externally for evidence of disease or injury, and then is opened, and examined internally. Further studies may be performed, and when the pathologist has enough information about the cause of the death, they’ll issue an autopsy report.

Forensic pathologists practice a subspecialty of pathology. For the most part, we do autopsies in cases of violent, unnatural, suspicious or unexpected death. Because of our expertise in the evaluation of trauma, we may be called on to examine living victims of assault, prisoners who complained of brutal treatment, victims of sexual assault, abused children, etc.  Properly, the evaluation of injuries in living victims is referred to as forensic medicine, whereas autopsy work is forensic pathology.

To become a forensic pathologist, I went to medical school in England at the University of London. In England, medical school takes five years, and I did an honors year in addition to that. (Below, a photo of St. Thomas’s Hospital, my alma mater – an august institution, described as already “ancient” in 1215 AD, it’s mostly cool because that was where that dude wakes up at the beginning of the zombie movie 28 Days Later.)

 

After graduating, I did internships in medicine and surgery before moving to the United States.  I did a three-year residency in anatomic pathology at Boston University Medical Center and then moved to Miami to train in forensic pathology. I was an Associate Medical Examiner for Dade County for one year prior to taking my current position as a medical examiner for New York City. New York has been great, but Miami was insane – it was while I was working in Florida that I thought of the story that would become A Hard Death.

I’ve been extremely lucky in my training, working with two of the greats of American forensic pathology—Dr. Joe Davis in Miami, and Dr. Charles Hirsch in New York City. My 20 years in New York City have been a fantastic experience working with devoted, super bright, super-competent colleagues.

Reading this over, I’m alarmed at how harsh I sound on coroners. Most coroners do great work with very limited resources. Just as with medical examiner systems, the quality of death investigation in coroner systems ultimately depends upon the people who do the work, and I’ve encountered many superb coroners and coroners investigators who go the extra mile in really difficult conditions to make sure they get it right. Just recently, working with a team to refine our approach to deaths among the elderly in NYC, I was really struck by the excellence of the Sacramento Coroner’s office. And last month I reviewed a very difficult case from a rural jurisdiction in Pennsylvania and was completely blown away by the quality of the investigation, by the thoroughness of the autopsy report, and by the self-critical, carefully circumspect approach the investigator and coroner took to their own conclusions. Because, pathologist or coroner, you want someone who is willing to question their own results. 

New York is actually a hybrid state with co-existing systems, specifically coronial systems in the more rural areas, and medical examiner systems in the more populous ones. Since full-time medicolegal death investigation is an expensive proposition, and more readily bankrolled where there’s an adequate tax base, if you live in a big city, you probably have an ME office, rather than a coroner’s office.

At the end of the day, though, even forensic pathologists can be pretty inconsistent – this morning I was reading Michael Jackson’s autopsy report (knowing L.A. County autopsy reports are public record, I just Googled it), and noticed that the autopsy report is signed by Dr. Lakshmanan Sathyavagiswaran, the office’s chief. The title he uses? “Chief Medical Examiner-Coroner”…

But I suppose the coroners in L.A. have always been a little bit different…

 

So – what do you have in your region? Do you know if you have a medical examiner system or a coronial system? How much do you know about your Chief ME or Coroner? Here’s a hint: generally, the less you hear, the better the system…

The Next Word War

(While I’m traveling on book tour, I’m delighted to have John Lutz here as a guest blogger.  John, take it away! — Tess Gerritsen)

 

by John Lutz

 

“History repeats. We are always fighting the last

 

                war. Blah, blah, blah…”

                                         — Just about everyone.

I’m not that old, but I remember when television was certain to be the end of radio and movies. It was obvious to everyone. Movies meant leaving home, paying for a ticket, sitting in a dark theater while people around you talked, smoked (!), rattled candy wrappers, and sometimes made various kinds of love.

Radio? Why? There was a new bully on the block. The simple box had learned to show us moving pictures and it called itself television. We could dim the living room lights like they did in movie theaters, pop our own corn, bark at any of the kids who dared rattle candy wrappers, and … well, that was easier, too.

Where were books during all of this? In bookstores, libraries, drugstore and grocery store paperback racks. Hemingway was still going strong. James Gould Cozzins was selling big. So was Mickey Spillane. Something to remember. In that war, books were like Switzerland during World War Two.

Make no mistake: war was being waged. Movies versus the Allies: radio and television.

Movies struck back. More and more were produced in Technicolor, with story concepts that required a vast canvas that could part the Red Sea, show the Pyramids being built in Egypt, and accommodate chariot races and all Ten Commandments. Put that on your eight-inch oblong screen and strain your eyes.

Radio came at television with car radios and suitcase-sized portables, all playing music made by the likes of Johnnie Ray, Frankie Lane, Patti Page, Les Paul and Mary Ford, the Platters, and then – Elvis

Television counter-attacked with daily local programming before five P.M. After five it was Milton Berle in drag, the brilliant Sid Caesar, Lucy, Peter Gunn, even Kate Smith and the American flag.

Movies hit back with stereophonic sound, vibrating seats, Vista Vision, Three-D, radiation-created gigantic ants, lizards, locusts, A-bomb bred creatures that toppled buildings and terrorized the world.  

Television came at us with sports. Baseball that seemed to be covered by one guy with a big TV camera, sitting behind home plate. Hockey. (Where’s the puck?) Boxing? Well, that was okay. Everything happened in an eighteen-by- eighteen foot ring. Boxing was made for television, and vice versa.

Grace Metalious sold a zillion copies of Peyton Place. Agatha Christie was writing and selling well. Spillane was still going strong.

Radio gave us high fidelity. That helped some. Especially if you wanted to hook up a string of speakers so it sounded like a train was roaring through your apartment.

Then television fell prey to an advantage that also became a vulnerability. Advertising. Lots of advertising.

Commercials.

Who wanted to watch Dinah Shore again and again in her Chevrolet? Or those dancing cigarette packs?

You didn’t have to sit through that kind of stuff at the movies.

Radio gave us FM.

Television came at the enemy with color.

Still, more than two people on a TV screen was a crowd, and everyone had green-tinted skin.

Radio gave us the Top Forty, and then the Top Ten. Elvis, Elvis, Elvis…

Movies recruited foreign allies with potent forces like Brigette Bardot, La Dolce Vita, and Brigette Bardot.

Truman Capote was a hit with his short stories and novellas. Spillane was going strong, even had a TV series and played himself in the movies. Détente.

Brando screamed for Stella in A Streetcar Named Desire. The Desperate Hours was a hit play that later became a hit movie. Sweet Bird of Youth was a hit play and became a hit movie. If it had been a quality play, it didn’t matter if the movie was in color or black and white. In fact, black and white movies sometimes denoted quality. Film noire, Don’t Bother to Knock, Hatful of Rain, Cat on a Hot Tin Roof, On the Waterfront. Movies had struck on something here. Burl Ives got rich. Elia Kazan got even. Arthur Miller got Marilyn Monroe.

Plays that originated on television, like Requiem for a Heavyweight and Marty also became hit movies. Hit plays could become sure-fire hit movies, even in black and white and two dimensions on average-sized screens.

Herman Wouk was on the bestseller lists. So was Mickey Spillane.

Television continued strong. Bob and Ray, Jack Benny, Burns and Allen – those people were funny even when you could see them. Red Skelton especially when you could see him. Lots of people watched them. They sold lots of products.

The thing is, this mess eventually sorted itself out. Movies gave us great production values and special effects. Also people like Alfred Hitchcock, Woody Allen, and Steven Spielberg. Television learned how to report news almost instantaneously, and produce meaningful entertainment. Some of the time, anyway. And virtually every car has a radio, tuned to everything from rap music to Verdi to Howard Stern.

John Sandford, Sue Grafton and Jonathon Franzen write bestsellers. Spillane still sells well.

The war between the forces of television and the radio-movie alliance wound down.

Sometime, in some way, the ebook invasion of publishing will also reach a conclusion. Peace will prevail. Whether we (writers and readers) will be the better or worse for it, I don’t know. At this point, I don’t think anyone does.

Someone forwarded to me a piece wherein an intellectual in the late nineteenth century argued logically and convincingly that the invention of the phonograph meant the end of books. Who would want to exert the effort to read a book when they could have it read to them? Narrators, readers, and not the writers, would become celebrities. The emphasis would be upon the performing of the book rather than on how some anonymous wordsmith arranged sentences.

We are part of an essential change in human contact and relationships, sailing into a foggy future, and with no more idea of where we’re going than the guy who would have put his money on the phonograph.

It will be fascinating to see where we are when the fog lifts and there evolves some kind of truce.

I have a hunch the book will be okay.  Like radio and the movies, it is a survivor.

Om Mani Padme Writing . . .

by Pari

Guilt is a rotten emotion; I wish I didn’t come by it so naturally. However, guilty I do feel. You all know what I’ve been facing in my personal life and on June 29 I started working full time. To say that my formerly balanced life is now completely out of whack is so incredibly inaccurate, it’s almost funny.

Almost.

I’ve been scarce here at the ’Rati and really regretting shirking my responsibilities. But when a night owl has to get up at 5:30 am to walk the dogs, water the ever bigger garden (too many pots this year), and dress for work, well, it’s just plain ugly. I often don’t turn on my personal computer until returning home after work. And then the evenings are family time – what little we have before we have to go to bed early and start all over again.

I’m not complaining (well . . . yes I am. I don’t like getting up early even though I love being up early!), I’m just explaining why my comments have been far and few during the last few weeks. I know I’ve missed some great conversations and my intellectual life is a little poorer for being remiss.

But that doesn’t mean I’ve been mentally comatose (except when I first get up at 5:30 . . .), thinking only about make-up and proper attire. No.  My pesky little brain has been on overdrive. And one of the things I’ve been thinking about is my writing goals for this next July-to-July stint.

Last year, my only goal was to write fiction daily no matter what. I did it too. July 2 was my one-year anniversary. During those first 365 days, I was tremendously inconsistent re: quantity. Some days, I wrote only a sentence; other days were much more “productive.”

When it comes to quality, I don’t know what to think. Right now I have no idea if any of the writing is good or bad because I haven’t edited a damn thing.

Still I’ve been mulling goals ever since July 2. Should I give myself a word count amount? A goal of, say, 200+ a day? Should I edit for an hour every weekend to finally publish some of this work? Should I get some of the stories, novellas or the novel, up electronically to give my readers something new to read?

I don’t know. Every time I try to define or alter the goal from last year, it feels overwhelming, uncomfortable or like something expected from the outside rather than coming from within. It feels like it would evoke guilt and I’m too good at that already.

What I do know is that the daily practice of affirming my life as a fiction writer is important to me—whether it’s with one original sentence or several fresh pages.  I’d like to say that the quantity and quality matter in this process, but in doing this daily writing, it’s only the doing that feels essential.

My questions for you today are:
1.  Do you have a daily practice that has become important to you?
2.  What is it and why is it important?
3.  Are you good at setting and meeting goals without putting a bunch of guilt on yourself in the process? If so, how do you do it? Any tips?

 —–
I apologize in advance if I don’t answer comments in a timely manner. I’ll take a gander at what’s being said during my breaks, lunch and after work . . .

 

Read It Or Weep

By Gar Anthony Haywood

(We interrupt our regularly scheduled blog post to announce that I’m in New York attending the Thrillerfest conference this weekend, and I’ve just witnessed our own J.T. Ellison receive the 2011 Thriller Award for Best Paperback Original [THE COLD ROOM].  And she was speechless.  No, really, she was speechless — poor baby has a cold and has almost no voice.  You go, J.T.!)

Most of you may not know this, but my last Murderati post was not technically my first.  Way back in March, 2007, I wrote a guest blog here at the invitation of the late, great Elaine Flinn.   (God, I miss that woman.)

The subject of that initial post was a partial WIP I loved to death but couldn’t sell.  I referred to it as my MIaD, or “Manuscript In a Drawer.”  If you’d care to read the whole post, the link above will take you to it in the archives, but here’s the only part of it that’s really relevant to what’s on my mind today:

(My) MIaD is 140 pages of a standalone thriller that has never found a reader who didn’t prove to be indifferent to it.  My agent didn’t get it; my former editor passed on it without breaking a sweat; and the two or three other people to whom I’ve shown it over the years have all responded to it with a collective shrug.

It’s gotta suck, right?

Well…

I still can’t wrap my head around the idea that it might.  It is going on seven years old, and the idea from which it sprang is much, much older than that, but here I am, as convinced as ever that this is one great book.

Well, it turns out I was right.  ASSUME NOTHING — the MIaD I was referring to — will be published by Severn House in December, and it is indeed (in my most humble opinion) a great book.

Finally.

What’s the “finally” mean, you ask?  It means that, while I was right to have the faith in the book that I did back in March, 2007, I was also dead wrong to think that it didn’t suck.  Because at that time, it did.  I was just too in love with the material — and frankly, lazy — to see it.

Sure, I’d read and re-read the manuscript numerous times over the years.  I’d even re-written large chunks of it on occasion.  But at some point, I’d grown so familiar with it — and so tired of looking at it — that I just couldn’t read it with anything resembling an objective eye anymore.  I didn’t have that kind of patience for it.  So you know what I did, at least once, perhaps even twice?  I did the unforgivable.

I sent it out for people to read without having really read the damn thing in months myself.  Can you believe that?

(An email has just appeared in my Inbox from Corbett, asking for my Murderati membership card back.  DELETE!)

Well, you can probably guess what happened.  The book went back into the drawer, unloved and unsold, until a little over a year ago, when Severn House asked for a follow-up to CEMETERY ROAD and that old itch to see ASSUME NOTHING in print started demanding to be scratched again.  So right back out of the drawer the manuscript came.  Only this time, before I let even my new agent see it (my last one hated it, remember?), I set a full day aside, sat down in a comfortable chair with a cup of joe, and read the whole thing.  Twice.

ARGGHHHHHHHH!!!  It was dreck!  I’d shipped this piece of crap to an editor I greatly admire at a house I’d kill to have publish me?

My Constitutional right to bear arms notwithstanding, I don’t own a gun, which is the only reason I didn’t blow my brains out at that very moment.

Oh, the premise I had so much undying faith in was there to be found, all right, as were a handful of great characters and set pieces.  And the prologue, overall, was a fine piece of kickass writing.  But the dialogue and narrative throughout?  They were an embarrassment.  Far below my usual standards, or at least, the standards I’d established since graduating high school.

Needless to say, I got started on a full re-write immediately, and didn’t send the reworked manuscript out to my agent, let alone my editor at Severn House, until I’d read and re-read the damn thing a dozen times.  Each and every page.

Now it was “one great book.”

Great enough, anyway, that both my agent and Severn House loved it, and the rest, as they say, is history.  Here’s what the book will look like in December:

So what exactly is the lesson to be learned from all this?  I think there are several:

  1. Shut up, sit down, and read that manuscript again.

    Yes, I know you’re sick and tired of looking at it.  You’ve been working on this frigging book now for what feels like half your life, and as fond of it as you are, you are absolutely sure you will hurl all over your Macbook if you have to read so much as one more paragraph of it.  But do it anyway, because maybe, just maybe, it’s not all you thought it was the last time, and one more good, hard look might make all the difference between a manuscript you can sell and be proud of, and one that needs to stay in a drawer.  A locked drawer.

  2. You’re a better and more critical editor now than you were six months ago.

    Because you’re also a better writer.  Your expectations for your work should be rising right in line with your skills, so any manuscript you last read half-a-year ago or longer, while it may have struck you as utterly flawless then, is probably inferior to what you would find acceptable today.  Never assume that something you read and found worthy of your name in February will pass muster with you in August.  Your editorial judgment is constantly evolving, and you owe every word you send out into the world the benefit of its most recent — and discriminating — incarnation.

  3. Enough lousy narrative and dialogue can (and probably will) make a no-sale out of any manuscript, no matter how great its general premise might be.
  4. Nevermind an editor or an agent — don’t even think about letting your mailman read that book until you’ve followed my advice in Bullet Point 1 above.

There’s a reason so much is posted here at Murderati about the agony of receiving a copyedited manuscript from one’s publisher: We don’t want to read the goddamn thing ever again!  Our minds are already busy formulating not only our next book, but our next three, so the last thing we want to do is revisit, with any real level of concentration, a book we’ve already written, re-written, read and re-read at least a dozen times.  Does that sound like fun to you?

Fun or no, however, reading and re-reading your own stuff — slowly and deliberately — is part of the gig.  And the author who tries to work around that part does so at his own peril.

Questions for the class:  How many times can you read something you’ve written without wanting to scream?  And for the published authors among us, do you ever go back and read your own books once they’re in print?

Okay, so I’m a blurter.

By Cornelia Read

Unlike JT, I am NOT actually at Thrillerfest. But I find myself in New York City anyway so last night I went down to Otto Penzler’s Mysterious Bookshop for the T-Fest group signing and party. And by the end of the evening, I was totally blurting stories. Which, you know, I tend to do HERE, but when you find yourself telling your Albanian waiter at the beautiful Italian restaurant you are having dinner at with Toni McGee Causey and Allison Brennan and Keith Raffel and Sean Chercover and Keith’s gorgeous, brilliant daughter Madeline… wait, where was I? Oh, yes… telling your Albanian waiter IN THE MIDDLE OF PEOPLE AT YOUR TABLE ORDERING DINNER FROM HIM that your mother’s boyfriend’s father was once the King of Albania’s doctor, and that this job–although it was given to Mr. Mom’s Boyfriend’s Dad to get him and his family out of Nazi Germany–came with a house, a butler, and a housekeeper (who was married to the butler) AND that when Mom’s boyfriend’s family finally made it to New York City in the Thirties, Mrs. Mom’s Boyfriend’s Mother kept in touch with the housekeeper, and wrote her a letter from Manhattan saying “I know you won’t believe it, but I actually cook and clean all by myself again,” the housekeeper wrote back, “Oh, Mrs. [Cornelia’s Mom’s Boyfriend’s Mother], I am sure that you are a wonderful cook and keeper of houses, but my goodness, WHO GREETS THE GUESTS?” Because I guess that’s your first thought when you’re married to a butler. In Albania. Or something.

Anyway, did I mention blurting? Yes. Blurtissima, that would be me.

And, also, earlier in the evening, I was telling the lovely and patient Robert Crais all about the three generations of women in my family’s tattoos. Um, possibly there was quite a bit of wine involved in the evening. I’m just saying.

But. This may also have been prompted by the fact that my daughter just got a tattoo. While we were driving home from the Adirondacks the other day. Okay, not actually WHILE WE WERE DRIVING. We stopped the car and got out and everything. In Rutland, Vermont (known to the locals as “Rut Vegas.”) This is because my daughter, who is seventeen, has been heavily researching tattoos–specifically where you can get one done when you are underage but your mother is a little wacky and will give you permission–which turns out to be, ahem, only in Vermont. Hence, a pitstop in Rut Vegas at a tattoo parlor called Long Trail Tattoos, at which my kid got inked with the thing she’s wanted for the last year or so and has been begging me to let her get. So now she has a pierced nose (promised to her “if and when you actually get into college.” Whereupon she gets in early decision, go figure.)

And also, when she wants something, she looks at you like this. Though this is also the “OMFG, will you STOP taking pictures of me already?” face. And of course the piercing is on the other side of her nose so it’s not like you can see it, here.

Where was I? Oh yes, the tattoo:

This would be the “before” picture. Natch.

Here is when we got underway:

And here is more “underway”:

And here is the final product:

And the reason she wanted to get it so much is because her twin sister’s name is Lila, and Lila’s nickname is “Lila Bean,” and Grace feels tremendously attached to and protective of her, what with Lila having such severe autism and everything. So, you know…. how can a mom say no to THAT, right? It made me totally tear up when she first told me she wanted it, and she has been unwavering in the desire for a whole year. And, um… I am a wuss and apparently not too conservative in the parenting department. Oh, and a blurter. We were talking about blurting. (Remember Alice? This is a song about Alice...)

So we have been in Alaska and the Adirondacks in the last two weeks, and then two days ago I drove to New York, and on Wednesday I’m flying to Wyoming to go shooting with my 93-year-old Uncle Bill. Who is a great storyteller. And, I hope, a blurter, like moi. In fact, here is one of HIS stories:

Two Coconuts and a Navy Cross, click click click

And I am looking forward to hearing about way more of his adventures. AND shooting. Because the man can shoot.

And that is my blurt for this morning… can you guys share a time when you overshared? Because it would make me feel WAY better about my mouthy evening last night….