In This Exciting Issue!

February 16th, 2021 by Max Allan Collins

One of the small pleasures denied me during this pandemic, where Barb and I have been largely sheltering in place for almost a year now, is going to Barnes & Noble and Books-a-Million to check out the new magazines.

But magazines have been a stubbornly dying breed for some time, and my favorites – most dealing with B-movies – have been hit hard. A particularly tough loss to take comes as a double hit – the writer/editor/publisher behind VideoScope, Joe Kane, has died.

And with him has gone his wonderful magazine.

Cover of VideoScope magazine

VideoScope was among the last of a handful of magazines combining reviews of what a prior dead magazine called psychotronic movies with news, articles and interviews. I never met Joe, but we exchanged many e-mails and I was an occasional contributor to the magazine. He was a consistent booster of my films and, when he was writing for the New York Daily News, reviewed both Mommy movies generously.

I looked forward to receiving VideoScope in the mail the way I used to (in my high school years) look forward to snagging my father’s gift subscription copy to Playboy before he got home from work. Of course Playboy – like my father – is gone now, but perhaps that magazine’s demise has to do not just with changing times, but the reality that certain magazines – yes, like the otherwise dissimilar VideoScope – were so much extensions of their creators/editors that they could not survive their absence. The fate awaiting Hustler, now that Larry Flynt is gone, is likely the same.

I dealt with a Flynt-like editor of the Hustler-like Climax magazine in Quarry’s Climax, the sexual content of which offended some readers – usually the same readers who weren’t offended by the violence. And I revisit aspects of that story in the forthcoming Quarry’s Blood. I liked Flynt’s Hustler, which had an outrageous sense of humor and a unique combination of blue-collar sensibility and left-wing politics (only “Asshole of the Month” could do a Tucker Carlson justice). The interviews and articles were often of interest as well (I will stop short of defending myself by saying, “I read Hustler for the articles,” even if it is sort of true – but I doubt I’ll be picking it up again).

Among the more respectable magazines I have looked forward to are two devoted to Old West history/pop culture, True West and Wild West. Both remain excellent and the former is the work of Stuart Rosebrook, a friend of mine who I’ve watched in recent years rise to the position of editor (the magazine’s publisher and creative guiding hand is the great artist/writer, Bob Boze Bell). Stuart Rosebrook’s screenwriter father Jeb wrote the classic “modern” western, Junior Bonner and much else (including The Waltons and The Yellow Rose on TV, The Black Hole feature film and The Gambler TV movies); when Stuart was living in Iowa City, he arranged for me to meet his visiting dad, which was an honor and a thrill.

Shock Cinema cover

With VideoScope gone, only a few stalwart defenders of the psychotronic side of cinema remain. A standout is Steven Puchalski’s Shock Cinema, which combines in-depth interviews with actors and filmmakers with reviews of obscure movies, Blu-rays/DVDs, and books. It has the same kind of fannish yet professional touch as Joe Kane’s VideoScope but with its own distinctive spin. The current issue is typical, featuring incredible interviews with actors Candy Clark (American Graffitti), Veronica Cartwright (Alien), Robert Wuhl (Arli$$), and director Jack Hill (Switchblade Sisters). A similar survivor is Darryl Mazeski’s Screem, another newsstand survivor. Like Shock Cinema and the now-lamented VideoScope, Screem has a personal touch and its own look and feel.

A slicker classic cinema magazine that somehow endures is the UK’s Cinema Retro, with incredible in-depth articles, wonderful reviews, and contributions by my pal Raymond Benson. Every issue is a feast, and occasionally they do a special issue devoted to a single classic film, with the emphasis on the ‘60s and ‘70s.

But these baby-boomer delights are a dying breed, as are magazines themselves, I fear.

Among the first things I did when it became clear we’d be sheltering in place until a vaccine arrived (and we still are waiting, Barb and I, for our shots) was to subscribe to all of the above and a few other magazines. But the joy of going to the magazine section of a book store, to see if a new issue of a favorite periodical is on the stands, is among the small yet keenly felt losses of this pandemic.

Joe Kane, who called himself the Phantom of the Movies, is a loss particularly keenly felt. So are the many magazines we have all loved…and taken for granted.

* * *

Here’s my introduction to the just-published IAMTW tie-in anthology, Turning the Tied. (Kindle link)

I also discussed tie-in writing in the forthcoming MWA, Lee Child-edited mystery writing handbook.

M.A.C.

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The Busy Lane I Picked

February 9th, 2021 by Max Allan Collins

I’m at one of those odd junctures where, because I write so much, I am bombarded by the demands of individual books ganging up on me, as needy as bunch of starving brats.

Look, I know it’s my fault, a combination of karma and my selfish desire to do a lot of different things and, along the way, maybe earning a decent living. My inclination, as an artist (I think that’s a fair way to put it, as long as I don’t add an “e” on the end) is to do one project at a time. Concentrate on one thing.

I mostly write novels, and I write them much as I read books – one at a time. I am not one of those strange, unfathomable people who read a number of books at once – they are like drunks changing channels on a runaway remote, as far as I’m concerned. This is one of the reasons why I don’t read much fiction – because the book I’m immersed in is the book I’m writing.

And you may have noticed that I’m always writing a book.

Almost always. I do take a week or two off between books, but I do other writing then – like short stories and articles – and catch up with the things I’ve neglected, like real life.

But fiction writing is a business, or rather a hobby or an art that has to be a business if you want to avoid a real job, a goal I have pursued since I quit my job sacking groceries in 1967. And as a business, the demands of publishing don’t care that I’m writing a book, particularly a book a given publisher isn’t, you know, publishing.

What am I talking about?

I am talking about having just finished Quarry’s Blood, and my incredibly fast editor, Charles Ardai of Hard Case Crime, read it in a couple of days and returned it with queries and minor rewrite requests, all reasonable and helpful. In the scheme of things, getting a freshly finished novel back with such immediacy is both unusual and wonderful. Everything is still fresh in my mind, and I can do the novel justice.

However. I am also dealing with the galley proofs of Antiques Carry On. Due simultaneously are the galley proofs of Live Fast, Spy Hard (John Sand #2), and the galley proofs for the short story collection, Suspense – His and Hers by Barb and me. In addition to the aforementioned Antiques Carry On galleys, our new publisher for that series quite reasonably wants a questionnaire about the book and its authors filled out, and an essay about the book written for their customers.

Galley proofs require a close read, looking for mistakes on the publisher’s end (typos) and mistakes on the author’s (continuity errors and general clean-up of writing problems, like repeating a word too many times on a page). It’s a time-consuming prospect – an Antiques book or the John Sand would take a day or two each.

Even worse is when a copy-edited manuscript comes in (the step before galley proofs), at least when a copy editor has overstepped his or her job description. This happens a lot, in my experience. Why a serial killer in one of my books hasn’t singled out copy editors for attention yet is a greater mystery than I have ever concocted.

Am I complaining? Well, of course I am, but not really. I am complaining more about my inability to do more than one thing at once. But I am improving. Right now, it’s my privilege and pleasure to be working with someone I admire and, even better, really like – Dave Thomas, SCTV star, among much else. Dave is working on the first draft of a book we’ve been working on for over a year, a project I am very proud of and am anxious to discuss here in more depth, when the time is right.

Dave, probably because of his incredible improv background, likes to run things by me and we talk and kick things around, and it’s really just great fun. I seem to have no problem stepping out of, say, Quarry’s Blood to talk about and explore the options and possibilities for our novel together in a plotting session.

But one of the things that’s become clear to me, when I’ve had such disparate projects as the Dave Thomas one, Quarry, Antiques and John Sand spinning in my brain like a noir dream sequence, is that I’ve come to understand better why I can’t expect every reader of mine to like or even understand every facet of my imagination and interests.

Some of you may recall a reader, irritated by one of my relatively rare excursions into politics, insisting that I should “pick a lane.” I responded that I am left of center in my politics, but close enough to the middle that both lanes of traffic have an equal swipe at me. I also mentioned that I feel nuance is a positive, not a negative.

I have, obviously, picked a lane in my writing – mystery/crime, but even that is really two genres, and of course horror is part of it, as the current Reincarnal & Other Dark Tales demonstrates. But it’s clear to me, at this ripe old age, that I would have been more popular and successful as a fiction writer if I had been more narrow in focus.

The thing is, I am driven not so much by genre considerations as I am by ideas. Ideas have driven every novel writing choice I’ve made. Quarry was a hitman who had to solve the murder he committed. Road to Perdition was a take on John Woo and other Asian influences my then very young son and I were taking in. Mommy was a reversal of The Bad Seed’s premise. Eliot Ness, both novel and non-fiction, was looking for the man behind the myth, and his real cases. Black Hats was old Wyatt Earp meets young Al Capone. USS Powderkeg was a way to talk about my father’s experiences with an all-black crew in the Pacific during the Second World War. Krista and Keith Larson was an American take on Nordic noir and a step away from hardboiled genre types. Ms. Tree was Velda marrying Mike Hammer and Mike getting killed on their honeymoon. Antiques was a young woman using antiquing (and amateur sleuthing) as a positive way to relate to her eccentric mother. Supreme Justice was somebody killing Supreme Court justices to change the balance of the court. John Sand is the spy that James Bond was based on. And on and on.

Ideas.

And the need to execute these ideas in a way that is appropriate to the material is the goal – effective storytelling, interesting to me. Fiction writers should write the novels they want to read themselves. Their first audience is themselves – and my readers are invited in, welcomed in, but don’t always share my interests and enthusiasms.

So I get it if Girl Can’t Help It doesn’t please somebody who is really into Quarry and Nolan. I wholly understand if someone into the Antiques series is horrified beyond words at my writing Mike Hammer novels.

But it is, frankly, hurtful when a reader feels betrayed by a choice I’ve made, and attacks a work that isn’t on their wave length as if I have failed them or am “phoning it in” or doing inferior work simply because it’s not to their taste.

And here in the last phase of my career – which I hope will be another twenty years, don’t get me wrong – I am interested in getting as many of the stories I want to tell fucking told. I am (as perhaps being the co-author of a series of cozy mysteries about antiquing might indicate) a collector. I am of perhaps the first generation of mystery writers who were fans first, and became writers.

So what I am doing, in 2021 and beyond, is collecting my own books. In a way, I am my own biggest fan, but also my harshest critic. A creative person needs to be an unlikely combination of self-confidence and self-doubt, and I certainly qualify.

* * *
Turning the Tied cover

Matt Clemens and I have contributed a Sherlock Holmes short story to an exciting new collection by top tie-in writers. Read about it here.

J. Kingston Pierce’s Rap Sheet is always worth reading. Some interesting news about me is buried in his latest installment.

Finally, Mike Hammer: The Night I Died graphic novel from Titan is one of seven recommended graphic novels here.

M.A.C.

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Book Give-Away, Noir Alley Clips, and a Current Interview

February 2nd, 2021 by Max Allan Collins
Max Allan Collins holding up a trade paperback of Reincarnal & Other Dark Tales

This week we have fifteen copies of the beautiful Wolfpack trade paperback edition of Reincarnal & Other Dark Tales to give away. I’ve written about this book here before, but I only now have physical copies in hand.

[All copies have been claimed. Thank you for your support! New updates are posted every Tuesday at 9 Central. — Nate]

If you miss out on the giveaway, I hope you’ll order it anyway, either on Kindle or this very cool trade paperback, which is a rather massive 330-some pages. It collects virtually all of my horror short stories, including two radio plays written for Fangoria’s Dreadtime Stories.

Be forewarned (or enticed, as the case may be) that many of the stories in Reincarnal (as the title may indicate) have a strong sexual element. This has to do with many of them originally having been published in erotic horror anthologies, back in the day when such stalwarts as Marty Greenberg, Jeff Gelb and Ed Gorman were turning out wonderful “theme” anthologies of original stories.

As I said here before, horror is a strong element of my fiction – you can see it in the Mommy novels (available from Wolfpack), many of the Quarry novels (The Wrong Quarry), a number of Hellers (Angel in Black), Eliot Ness (Butcher’s Dozen) and novels by Barb and me (Regeneration). Even the recent non-fiction work, Eliot Ness and the Mad Butcher (by A. Brad Schwartz and myself) qualifies as horror-tinged. The only horror tales not collected in Reincarnal can be found in the Wolfpack collections Murderlized (gathering collaborative stories by Matt Clemens and me), Blue Christmas (holiday horror and dark suspense), and Murder – His and Hers (stories by Barb and me).

While I am first and foremost a novelist, I do enjoy writing short stories and it’s long been an ambition to see collections of my shorter fiction, like Reincarnal, give those stories a certain permanence.

* * *

If you missed my second guest shot with Eddie Muller on Noir Alley, here is the intro and the outro for Born to Kill, a great crime movie you should see (the TCM streaming service has it right now).

* * *

Publisher’s Weekly has a great article by Lenny Picker about Hard Case Crime. I can’t share it with you, because PW requires you to subscribe for the link to go through.

I was interviewed for the PW article on HCC, and a grand total of one paragraph was used (in part) in that article. So, since that interview is very up-to-date as to what I’m up to, I’ll share it here:

What led you to have some of your books published by Hard Case Crime? In other words, what makes a Collins book a better fit for HCC?

When editor/publisher Charles Ardai began Hard Case Crime, he featured a number of reprints among the originals, from the classic likes of Erle Stanley Gardner and Lawrence Block. He approached me about reprinting the second Nolan novel, Blood Money, and I suggested he reprint both it and the first in the series, Bait Money, under one cover, which he did, as Two for the Money. Later he approached me about doing another reprint and I offered instead to write an original. It was obvious to me Charles and his partner Max Phillips had a love and feel for classic hardboiled fiction and represented a home for what I most like to write in a market not terribly conducive to that.

Another fact was the retro packaging, the covers that were not only fully illustrative in the fashion of ’50s and ’60s paperback suspense novels, but depicted beautiful femme fatales and handsome tough guys, in a fashion that had become essentially forbidden due to politically correct restraints at other publishers. HCC has a way of saying, “We’re retro, not Neanderthals. We have our tongue slightly in cheek as we celebrate a form of American mystery fiction pioneered by such greats as Raymond Chandler and Dashiell Hammett.”

What makes them different from other publishers/imprints?

They go their own way and are motivated by a love for the noir genre, taking risks with new talent and respect older talent. Charles Ardai encourages me to write what I want to write. I’m at a point in my career and, frankly, at an age where being able to write what I want means more than financial considerations, an approach that can pay off better than a more market-driven, cynical one.

For example, the first original I did for HCC was a return to my Quarry series, which had become a cult favorite after its initial four-book run in the mid-’70s and a one-shot comeback ten years later. I’d always wanted to complete the series and The Last Quarry was intended to be the final book about my hitman character…the first contract killer to “star” in a book series. The Last Quarry was popular and widely well-reviewed. Charles said, “Too bad you’ve written the last book in the series.” And I said, “How about I write, The First Quarry?” Since then another dozen or so have followed. An award-winning short film I wrote led to a Quarry feature film (The Last Lullaby), and a few years ago HBO/Cinemax did a Quarry TV series.

What led you to revive Nolan last month?

Charles has been after me to do that dating back to Two for the Money. I resisted, feeling my novel Spree was the proper ending to the series. But he said he’d bring the early books back out if I did a coda to the series, which I have — the current Skim Deep. Now I’m writing a coda to The Last Quarry called Quarry’s Blood. My hitman is 68 years old in the novel, which is younger than me.

How hard was it to return to the character after so many years?

Not at all. I spent almost two years, when I was at the University of Iowa Writers Workshop in the late ’60s, writing that novel. My instructor was Richard Yates, the great mainstream novelist. I also studied with Walter Tevis, whose reputation is getting a boost from The Queen’s Gambit mini-series. So I spent a lot of time with Nolan and his young sidekick Jon, and then there were the other six novels and several versions of a Nolan screenplay I wrote a while back…unproduced as yet, but it got optioned. A movie is brewing now combining elements of several of the novels.

How was writing him different?

He was an old man of 48 when I conceived him at age 20. Now he’s 55 and really something of an old man, so my perspective on him has shifted.

Are there other characters that you’re planning on reviving?

I get requests to do another Mallory, but that character was based on me, which doesn’t interest me. My recent Krista Larson series I hope to keep going, and when the political world settles down, if it ever does, I might do another Reeder & Rogers novel with Matt Clemens, who I’m writing the James Bond-ish “John Sand” novels with now for Wolfpack. My wife Barb and I are continuing the long-running Antiques series we write together as Barbara Allan, with Severn now.

The biggest thing will be taking Nathan Heller to HCC. I consider the Heller novels – which as you know are traditional tough private eye novels dealing with major crimes of the Twentieth Century – my best work, my signature work. But I don’t spend all my time looking backward. I’m working on two projects for Neo-Text, one a ’40s female private eye, Fancy Anders, who solves mysteries involving an aircraft plant, a movie studio, and the Hollywood Canteen. The other is a science-fiction-tinged noir collaborating with SCTV star Dave Thomas, who was a writer/producer on Blacklist and Bones, for which I wrote a tie-in novel.

I should note that HCC has been a supporter of my work building up the legacy of my friend and mentor, Mickey Spillane. We’ve done several books at HCC, and something like fourteen Mike Hammer novels at HCC’s parent company, Titan. These all reflect my completing unfinished manuscripts from Mickey’s files, something he asked me to do shortly before his passing in 2006. Next year is the 75th anniversary of Mike Hammer, and I’ll be doing a biography of him with James Traylor for Otto Penzler at Mysterious Press. It’s people like Charles and Otto who nurture and keep the hardboiled genre alive in the face of changing times.

What would you most want article readers to know about HCC?

HCC is a boutique publisher that cares about books, readers, and authors. I am extremely grateful to them for letting pursue my work my way.

* * *

A reader in this You Tube piece recommends five HCC titles to represent that publisher’s output, and The First Quarry is one of them!

And, finally, this fantastic review from the UK of the current Mike Hammer, Masquerade for Murder.

M.A.C.

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Cover Story

January 26th, 2021 by Max Allan Collins

I had not been given an advance look at the Noir Alley episode this weekend that had me guest-presenting with Eddie Muller the great film noir, Born to Kill (1947) from the James Gunn novel, Deadly Is the Female. During the shoot, Eddie and I had talked about both the film and the book for maybe forty minutes, and the TCM editors honed it down beautifully. I am very pleased, and if it turns up on You Tube, I’ll share it here.

God, I love it when I don’t stink up the place!

Skim Deep Skyboat Audio Cover
Audible

Skim Deep has been getting some lovely notices, I am pleased to say, including great Amazon reviews, and readers seem to be pleased either to see Nolan again or meet him for the first time.

But due out a week from today is the first-ever audio book of Blood Money, the second Nolan novel, read by the amazing Stefan Rudnicki. As you may know, Hard Case Crime is bringing out a new trade paperback edition of Two for the Money, collecting the first two Nolan novels – Bait Money and, again, Blood Money – on April 20.

The Edgar nominations are out, and Eliot Ness and the Butcher did not receive a Best Fact Crime nom, just as Scarface and the Untouchable did not in its year. It’s frustrating that this major work – I consider these two books joined at the hip – has not been better recognized; but I am confident that what my co-author, A. Brad Schwartz, and I accomplished will have a lasting place in true-crime literature.

Both Reincarnal & Other Dark Tales and Shoot the Moon (And More) are available in trade paperback(and of course Kindle) from Wolfpack. I talked about Reincarnal last week and spoke of my pleasure in having my short horror fiction collected in one place. I’m excited to see Shoot the Moon published as a novel and not as part of a collection. Originally it was featured in the now out-of-print Early Crimes, and the two short stories from that collection are still included, but moved to the back of the book as a bonus feature.

Shoot the Moon is a novel written fairly early in my career, but after Bait Money, Blood Money, No Cure for Death, The Baby Blue Rip-off and Quarry. So it’s not an early work in the sense of being formative or from my college days. The two short stories that serve as a bonus are, in fact, from my community college days, although one of them (“Public Servant”) was considered good enough years later to be included in a Lawrence Block-edited anthology (Opening Shots).

As I’ve mentioned earlier, Shoot the Moon is to the Donald E. Westlake comic crime novels as Bait Money is to the Richard Stark un-comic crime novels. My debt to Don Westlake, as an inspiration and mentor, is one I can never adequately repay.

Reincarnal & Other Dark Tales Cover
Shoot the Moon Cover

My son Nate encourages me to share behind-the-scenes stories and such about the writing life. So here I go….

Wolfpack is a very interesting outfit, because its publisher, Mike Bray, is something of a visionary, and its editor-in-chief Paul Bishop is a first-rate novelist himself who approaches publishing with an empathy and feel for his fellow writers.

I have been particularly pleased with the covers that have come out of Wolfpack, and yet a couple of problems turned up recently. As an example of the rampant political correctness that all creative people suffer these days, the cover of Reincarnal – which I love – was rejected for use in ads by Amazon. Fortunately, I’m told, ads for Facebook with that cover are still possible.

Apparently Reincarnal having a knife on its cover is the problem. I’ve run into this kind of thing before at several publishers, who haven’t wanted a gun on their covers. In one case, a publisher doing serial killer books – where the editor had me add a violent opening scene – did not allow guns or knives on their covers. Hey, I’m all for keeping guns off the floor of the House of Representatives and Senate – none of those people should be allowed around sharp objects – but on the covers of thrillers, horror novels and noir?

Who are we protecting with this prissy attitude, anyway?

Come Spy With Me Cover

Conversely, the wonderful cover of Come Spy With Me has taken some heat for being too classy, too subtle. And it does have a gun on it! That gun is on a beach covered in sand, which anyone whose favorite word isn’t “Duh!” will tell you was meant to make you think of the protagonist, John Sand. It’s possible we’ll eventually do a second cover for that title, when the third Sand novel, To Live and Spy in Berlin, emerges – a book Matt Clemens and I are plotting, having delivered book two, Live Fast, Spy Hard recently.

Wolfpack’s bread-and-butter has been what I used to hear called “boy books” by editors both male and female. “Boy books” are westerns, techno-thrillers, male-lead thrillers, private eye novels and noir (the latter will come as a surprise to Christa Faust and Megan Abbott). Westerns and men’s adventure-type novels, including spy stuff, do very well at Wolfpack, and while my work is at least vaguely in the “boy book” vein, I am part of the publisher’s effort to expand into new publishing realms. And I salute them for that.

“How can I help?” I hear you saying.

You can buy Reincarnal, Shoot the Moon, and Come Spy With Me for a start, and all the other titles of mine Wolfpack has been good enough to foist upon you lucky people.

At fear of kissing up (well, I’m not that afraid), I will say that Wolfpack, Hard Case Crime, Titan and the emerging Neo-Text are publishers who are allowing me to explore the genres and characters I care about, both old and new, and God bless them for it. Every one of them has invested their faith in me and my work in a way that goes well beyond the standard publishing approach of, “Well, we’ll throw one or two of your titles out there and see how they do.”

Publishers, notoriously, have laid all the blame on the writer for the lack of success of a book. We writers are where the buck stops, and you might say, “Of course you are!” But the truth is publishers are not in the book-selling business, they are in the cover-selling business. Hey, if my books aren’t packaged correctly, it’s not my effing fault.

Now, I have to cop to having loved some covers that didn’t work in the marketplace, and having hated some that did. But it’s not my job to package the books. I am busy writing them. I am hard at work making Wheaties. What athlete goes on the box isn’t my choice or my fault, which means I can’t take full credit for how many boxes of Wheaties fly off the shelves.

Publishers usually ask for a writer’s input into the covers, and then ignore that input, often for good reason. Hard Case Crime sends me the cover before I’ve even written the book, so I can work the scene into the narrative, like the old pulp writers used to – I get a perverse pleasure out of that. Thomas & Mercer gave me a lot of input into the covers, and I love the results. Those books continue to sell briskly.

But here is my dream. An editor has a series that has received glowing reviews, a series that said editor considers first-rate, though with a small but dedicated reader base, if not enough to justify publishing any more books in that series. Rather than drop that series like something icky, why not consider a re-packaging approach, and take a hard look at the marketing that has (or hasn’t) gone into it, and give that series a book or two more, with a new cover and new marketing approach, before deciding its ultimate fate?

That never happens.

Keeping Nate Heller alive through five major publishing houses, with a fifth coming, over almost fifty years is a small miracle – no, a big miracle, speaking to my own stubbornness and my only-child inability to be told “no.”

And yet. Here is Nolan back in print. Here is Quarry not only back in print but with me writing, right now, the tenth new book (Quarry’s Blood) in a series started back up again in 2006 when the damned thing had been declared dead in 1976.

* * *

J. Kingston Pierce’s The Rap Sheet, hands down the best mystery site on the web, has an edition of his entertaining column-within-a-column “Bullet Points” that has a nice paragraph about the book I’m writing now (Quarry’s Blood) and Heller.

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