Aix to Grind, by Robert Mangeot

"Aix to Grind," by Robert Mangeot, in Alfred Hitchcock's Mystery Magazine, September 2011.

The narrator and his partner Gus are in France in the market for cheese.  Not cheese really,  That's just what they call the artworks they steal from dairies.  Dairies are what they call private art collections.

But this time the narrator wants to rob a factory.  Which is what they call museums.

Oh, never mind.  The point is this is a very witty, cleverly plotted story about a burglary.  Just remember: Ne vous fiez pas n'importe qui.

It'll Cost You, by Neil Schofield

"It'll Cost You," by Neil Schofield, in Alfred Hitchcock's Mystery Magazine, September 2014.

Lawrence Block once wrote that "A story must have a beginning, a middle and an end, but not necessarily in that order."  The current fashion is to start as far into the action as you can and then explain what went before in flashbacks.

But what about starting at the end?  I don't mean telling the story in reverse like, for example, the movie Betrayal.  No, I am thinking of stories that begin by revealing how they will end, and then jump to the start.  Two more classic movies come to mind: Sunset Boulevard and American Beauty,  both of which start with the narrator informing you that he gets killed (and one of them still manages to provide a surprise ending).

My friend Neil Schofield has provided a witty and very clever story of this type. Georgie Hopcraft starts out by cheerfully telling us that he is in prison and his cell mate is "another murderer," which is a little misleading because Georgie has been convicted of a murder he did not commit.

Then why is he so cheerful?  Well, it  has to do with that cell mate, and I will leave it at that.

But Georgie goes on to explain the whole story.  He was a somewhat shady owner of a "slightly better-class second and bric-a-brac shop" in London.  But when his soon-to-be ex-wife was dissatisfied with the upcoming settlement she found a way to get him framed into prison.  And we get to watch the whole framing process.

And yet, Georgie remains cheerful.  Hmm. This leads us to...

SPOILER ALERT. 

This story is, oddly enough, a fair play mystery.  That usually means the reader has all the clues needed to figure out the identity of the murderer.  In this story that is a given, but you have all the clues to figure out how Georgie will prove he didn't do it. 

Crimes of Passion, by Michael Guillebeau

"Crimes of Passion," by Michael Guillebeau, in Ellery Queen's Mystery Magazine, August 2014.

So, when is a stereotype okay in writing?  I don't mean an offensive racial or whatever stereotype, I mean a character who is so perfectly a type that you know what they are going to do before they do.

I guess, as usual, the answer is: it's okay when it works. 

Guillebeau's story is full of characters like this.  Within a few pages you can predict, not precisely what will happen, but who will end up with the dirty end of the stick and who will walk away clean as artisan soap.

Josh is a poor boy who lives in the Florida panhandle.  "Poor" is the keyword because his family's shack is between two mansions, where his best friends live.  Those over-privileged, entitled friends, Waylon and the just-blooming Melody, are the main cliches in the story.

As it begins, the three of them find a dead body in the water.  Waylon finds a stack of money in the man's coat and promptly takes it.  Josh -- the thoughtful member of the three -- has to decide whether to go along with this or tell the truth.  And everything that follows is as inevitable as a Greek tragedy, writ small.

Apparently Guillebeau has a novel about the same character, Josh Somebody.  Might be worth a look-see.

The Plow Guy, by Brendan DuBois

"The Plow Guy," by Brendan DuBois, in Alfred Hitchcock's Mystery Magazine, July/August 2014.

Henry Conway has a somewhat eccentric plan for his retirement.  He wants to move to a small town in New Hampshire, buy a dog for company, and plow people's driveways.  Seems easy enough, but he runs into a couple of problems, especially a man who beats his wife, a problem Henry isn't willing to ignore.

But Henry has an interesting skill set.  Did I mention what work he retired from?  Neither does he, exactly.

I chose my retirement home like I was planning for an overseas op.  Oops, I meant to say, setting up a budget spreadsheet.  Or a request for proposals.  Or something innocent like that.

Oddly enough, I enjoyed the story more before the inevitable conflict came along.  Henry is an interesting  fellow and, honestly, the bad guy just wasn't enough of a challenge for him.  But the writing is lovely.

Mary's Shallow Grave, by Phillip DePoy

"Mary's Shallow Grave," by Phillip DePoy, in Alfred Hitchcock's Mystery Magazine, July/August 2014.

If I am reading the editor's note correctly, this is intended to be the first in a series.  I look forward to the next. 

It's 1975 and the state of Florida has hired our narrator, Foggy, to operate Child Protective Services (for the whole state?  I hope not.).  And he shows up at the bar with the unprepossessing name that gives the story it's title, to tell the cook that his ex-wife in in a coma, her boyfriend is dead, and his eleven-year-old daughter is on the run.

That part of Florida had always been to me, the land of people who gave up.  They piled empty cardboard boxes on the front porch, rolled the broken fridge out onto the lawn; always thought it was too hot to paint the house.  And the flies didn't come in if you just put a piece of plastic over that tear in the screen.  Maybe it was the heat.  Even in October they could get days in the nineties.

There is stolen money, crooked cops, a wealthy Indian with nefarious plans, and a bunch of people using assorted ill-advised self-medication plans.  If there is any hope for an eleven-year-old girl in this mess it is going to have to be carved out of extra-legal maneuvers and deals with assorted devils. 

Fortunately, Foggy is up to the challenge. 

When I'm Famous, by Dara Carr

"When I'm Famous," by Dara Carr, in Ellery Queen's Mystery Magazine, June 2014. 

This is the best first story I have read in some time. Clever setting: Williamsburg, Brooklyn, among the hipsters. Exhibit A is our narrator, Mindy. She is, she tells us, a visual person. She has a "make-believe boyfriend," Marcus, who phones her late at night for "booty calls" and she always goes over.

One might diagnose low self-esteem. Here's another example. When Mindy spots a beautiful woman at a party, a "wallpaper artist," she writes:

...Brooklyn royalty and she knows it, the men twitching like they've been tased, the female viewers emitting a soft electric hum, brains working hard, calculating the age they were when they could have last worn shorts that length in public, let alone to a party; beaches don't count. Age seven would be my answer.

That's good writing.

Pretty soon the wallpaper artist is dead and there is no shortage of suspects.  In fact, they show up one after another like city buses.

But before I go here is one more line from our heroine:

One of the less commonly reported dangers of chronic marijuana use is buying decrepid old houses and thinking you can fix them up.

 

Hooch, by Bill Pronzini

"Hooch," by Bill Pronzini, in Ellery Queen's Mystery Magazine, June 2014.

I know I have said this before (and after you blog for a few years you suspect you have said everything before): the best endings are surprises that feel inevitable.  You want the reader to say "I never saw it coming but that was the only way the story could end."

And that, my friends, ain't easy.

Pronzini's story is about some thugs smuggling booze in from Canada during Prohibition.  Two of them are hardened criminals; the third one, Bennie, is a bright-eyed youngster who got everything he knows about crime from places like Black Mask Magazine.  In fact, he tells his colleagues cheerfully, he's writing a novel about the rum-running business.  All fictionalized of course..  Nothing for them to wrory about...

Well, you can see where this story is heading, can't you?  But there is a twist along the way, one that made me say "that's the only way the story could end."