Posts Tagged ‘Nate Heller’

Quarry Up for an Award, Mike Hammer’s Big Announcement

Tuesday, June 17th, 2025

Things have been popping around here. First came news that Quarry’s Return has been nominated for the Best Paperback Novel “Shamus.” The Shamus is an award that means a lot to me, because my late friend Bob Randisi and I, and a few others, were grousing to each other about the Mystery Writers of America ignoring private eye novels in their Edgar awards. Bob was not one to let the grass grow under his feet and very soon he’d created the Private Eye Writers of America and the Shamus awards.

Arguably, the Shamus awards became the second most-prominent and prestigious honor of its kind in mystery fiction. Others have come and gone, and some may lay claim to being more important now; but I know and remember what it meant to me.

In 1983 my novel True Detective was published and got quite a bit of attention in its approach to merging the PI story with historical crime, and for being the longest private eye novel ever written (later my novel Stolen Away would eclipse it). I was, predictably, ignored by the Edgars but got a Shamus nomination. I was a long shot to say the least, because I was up against a Murderer’s Row of mystery writers: James Crumley, Stanley Ellin, Loren Estleman and Robert B. Parker. But my book won, and I was boosted considerably in the business…and both Nate Heller and I are still around. Stolen Away won the Best Novel in 1992. The series went on to be the most-nominated in the history of the organization.

Anyone who says awards don’t matter (like me, when I lose) are full of it. If Bob Randisi hadn’t started up the PWA, I wonder if Heller and I would still be around.

Nate Heller and True Detective are the basis, of course, of True Noir: The Assassination of Anton Cermak, director Robert Meyer Burnett’s ten-episode audio drama from my adaptation. (truenoir.co)

Quarry has been nominated for the Shamus several times (my hitman even got an Edgar nomination last year for Quarry’s Blood) but I don’t recall him ever winning. Kind of makes sense in the PWA, because to make a private eye out of Quarry, you have to squint and look sideways. But the books are very much built on the private eye novel paradigm.

In other private eye news…

Matthew McConaughey is serious talks with Skydance about reuniting with True Detective writer Nic Pizzolatto in the Mike Hammer movie that has been threatening to happen for a decade or so.

Matthew McConaughey and Nic Pizzolatto

The film is based not just on Mickey’s work but draws upon the entire series (including the collaborative novels and short stories that share a Spillane/Collins byline). I have read the script and it’s solid; as an executive producer, I was able to provide notes, to get the characters and concepts in line with Mickey’s and my work.

This news exploded all over the Internet. I lost count at 21 articles. Here’s a typical one from Deadline.

It was everywhere, from Variety to the Hollywood Reporter. I am optimistic but I never believe this kind of thing till I’m on set and the cameras are rolling. But it has a real feel to it.

You will note a certain irony here: the title of my novel True Detective is of course the title of the (later) HBO series that brought together actor McConaughey and writer Pizzolatto – a highly rated and regarded series that I have never seen, since the use of the title irked me. On the other hand, I plucked the title from the vintage true-crime magazines that were on the newsstands when Heller was starting out in the other True Detective.

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Here’s a cool review of The Last Quarry.

My band the Daybreakers has a Wikipedia page! And I didn’t submit it much less write it (a few inaccuracies, but hey).

M.A.C.

Damn Fool Crusader, Dick Tracy, Wayne Dundee R.I.P.

Tuesday, June 10th, 2025

Through my dalliances with YouTube, I’ve been able to connect with some interesting people, who have become my friends or at least friendly acquaintances. I spend a little more time watching YouTube than I should, because my wife Barb and I almost always watch a movie in the evening, and sometimes my son Nate comes over (after he helps his wife Abby get his two kids to bed) (Sam and Lucy), making it a double feature. My beddy-bye time is, roughly, midnight and I sometimes have an hour or so to fill before closing out my day. The morsels of entertainment I encounter on YouTube are fun, often informative and, usually, not demanding.

This past week I did a commentary with Heath Holland of the respected Cereal at Midnight on the Chinatown sequel, The Two Jakes, which is one of my favorite movies but not a terribly well-regarded film. It was my opportunity to defend the film and explain myself. This commentary was for the upcoming 4K Blu-ray to be released by Kino Lorber.

Heath is a knowledgeable pop culture expert with an emphasis on film and music, as well as a winning presence on Cereal at Midnight, which appears sporadically but frequently on YouTube. We’ve done several movie commentaries together for Kino, and have several more to do. He’s a pleasure to work with.

I of course have a great creative relationship and friendship with Robert Meyer Burnett. Here’s him talking about our collaboration, True Noir: The Assassination of Anton Cermak, as a guest on a YouTube show dating back a few months (we hadn’t announced Michael Rosenbaum as our Nate Heller yet). The passion, talent and skill that director Rob Meyer Burnett brings to True Noir: The Assassination of Anton Cermak is on full display in this interview (done while we were stilling working on the True Detective adaptation – available at truenoir.co). (Not “com” – “co”!)

More recently I connected with one of the most unique presences on YouTube, Spencer Draper, who calls himself The Damn Fool Idealistic Crusader. He discusses pop culture with an emphasis on genre movies (and books), but has become known, well outside YouTube circles, as a watchdog for flaws on DVDs, Blu-rays and 4K discs. He points out mastering problems and particularly hones in on audio blunders. He is focused, relentless and very, very smart.

I reached out to him to inquire about his experiences on the Warner Bros “DVD rot” problem, which has to do with a batch of 2007-2008 DVDs that are out there rotting even as we speak. He’s been key in alerting collectors and a sometimes (sometimes) cooperative Warner Bros customer service about the problem, and the need – moral responsibility for – replacing defective discs.

There’s a spooky aspect to the contact between Spencer and me. I’ve never gotten in touch with him before, and I don’t believe he’s ever covered anything of mine on his YouTube offerings. I had no reason to think I was on his radar.

But it turns out he was, at that moment, doing a deep dive into my involvement with the Dick Tracy movie, studying my novelization and doing his general thorough digging job. We have now corresponded several times and the experience has been pleasant, even if the Warner Bros aspect hasn’t been. (I am definitely not talking about Warner Archive!)

For Spencer, and for those of you who are new here (even relatively so), I am reprinting an article about how I intersected with the Dick Tracy movie, Warren Beatty’s people, and the Good Folks at Disney. It’s an excerpt from an article I wrote for Lee Goldberg’s Tied In – The Business, History and Craft of Media Tie-In Writing. It is the behind-the-scenes amusing and horrifying story of my writing of the movie tie-in novelization of Dick Tracy.

I wanted to write the Dick Tracy tie-in novel because I’d been the writer of the syndicated strip since 1977, plus I was a mystery novelist. Landing the Dick Tracy strip was my first really big career break. I got the job after trying out for it, writing a sample continuity. I got the opportunity to try out chiefly because of some mystery novels I’d written as a kid that had a strong comics element (Bait Money and Blood Money, both 1973).

My re-boot of the strip got a lot of positive attention, and I loved the job, having been a stone Dick Tracy fanatic since childhood. Before getting the strip, I had even developed a friendship with creator Chester Gould – a rarity, because he was very private – although Chet played no role in my landing this plum assignment.

Some time in the ’80s, I was shown a potential screenplay for Dick Tracy, shared with me by my Chicago Tribune Syndicate editor. I thought it was lousy, and told him so, and he agreed. I figured that was the end of it.

But the Dick Tracy film was a project that wouldn’t die – Clint Eastwood was going to be the square-jawed dick for a while, which was exciting, and then finally Warren Beatty got obsessed with it, and it became a Disney project and a very big deal. I offered to do the novel version and, thanks to my credentials as the writer of the strip, got the gig. I was thrilled.

Then they sent me the screenplay – it was virtually the same lousy one I’d read seven or eight years before! I was shocked and dismayed. Lots of the classic characters, villains and good guys alike, some good situations…but no story. Not really.

I asked my agent what to do about it, wondering what kind of novel I could fashion from such weak material, and he said, “Just do whatever you want with it. Nobody’s going to read it at Disney – this is just small change to them.” Did I mention that my usually very savvy agent had never sold a tie-in before? And that this was the worst advice he ever gave me?

So I wrote a novel very loosely based on the screenplay. I added more characters from the strip, provided a story, even replaced what seemed to me to be unimaginative death traps with my own better ones. It was a terrific little novel, designed by and for a Dick Tracy fan like me.

I sent it in, went on about my business, and several months later my wife Barb and I were preparing to go on a research trip to Nassau (for my Nate Heller novel Carnal Hours) when my agent called with bad news. The Disney people hadn’t even made it through my book – got maybe a third of the way – before saying a faithful-to-the-screenplay page one rewrite was needed.

In seven days.

Dick Tracy is legendarily a movie that Warren Beatty micro-managed. Every tie-in aspect was overseen by Beatty and his top people. The novel I’d written was inappropriate for any film. To have taken these liberties on Dick Tracy was a blundering piece of farcical arrogance on my part that makes Fawlty Towers look like a documentary.

So with a 1989-era laptop (think about it), I went to Nassau and spent 70% of my time in the hotel room salvaging what little I could from my first version. Maybe 25% of it was workable. Actually, some of my non-screenplay stuff made it in, because it didn’t contradict anything (Vitamin Flintheart is in my novel, for instance, but not in the film, not even deleted scenes).

Barb and I were in Nassau four or five days, and I came home and wrote the rest of it, just blazing. What I came up with was pretty good. I was as happy with it as possible, considering the weak screenplay that was my source. But that, as they say, was just the beginning….

I spent many, many hours on the phone with the producer of the film, Barry Osborne (later involved in The Lord Of The Rings trilogy), a gracious, intelligent man, and way too far up the food chain to be giving a lowly tie-in writer such instructions as, “The chair on page 223? It’s green not red,” and, “You have 88 Keyes standing up from the piano too soon on page 187.” Most of the changes I was asked to make had to do with such surface things, and many substantial changes I had made in character motivation and dialogue were overlooked.

This was perhaps the most instructive thing I learned from the experience – if you follow the screenplay out the door, and do the surface of it accurately, you can slip in all kinds of substance where characterization and fleshing out of scenes are concerned.

Osborne actually liked the novel a lot, and he told me on several occasions that I had solved plot problems for them, which they had fixed by way of dialogue looping – and indeed the film has five or six lines I wrote.

Also, he asked me about a scene involving Tracy’s girl friend Tess and her mother, where Mrs. Trueheart says a lot of negative stuff about Dick, how she is delighted that Tess and Dick have broken up and how selfish the detective is, etc. I had softened this scene, making Tess’s mother much more positive about her potential son-in-law. The producer asked me why I’d done that.

“Because,” I said, “Tracy joined the police force to avenge the death of Mrs. Trueheart’s husband – Tess’s father, who ran a deli and got shot by robbers. Mrs. Trueheart adores Dick Tracy. Every Dick Tracy fan knows that.”

And they re-shot the scene along my lines.

So I take a certain pride in knowing that Dick Tracy is a film in part based upon its own novelization. The final battle, however, reached new heights of absurdity, and involved phone calls with high-level folks at Disney. How high level? How about Jeffrey Katzenberg? The “surprise” ending of Dick Tracy is that the mysterious masked bad guy called the Blank is actually Breathless Mahoney. Sorry to ruin it for you, but, yes, Madonna did it.

This surprise seemed painfully obvious to me, the kind of shocker you can damn near figure out in the opening credits. But Beatty, Disney and all associated were convinced they had a surprise on the level of The Sixth Sense (I figured that out, too, about five minutes in). So I was instructed to remove it from the novel.

Wait a minute, you’re saying. Remove what? The identity of the masked bad guy. The solution to the mystery. You know…who the killer is.

This surprise ending, the Disney folks told me, had to be guarded like the Coca Cola recipe or the unretouched Zapruder film. And when I pointed out that Dick Tracy was a mystery story, and that leaving the ending off a mystery story just might disappoint a few readers, this seemed of no particular import.

I did half a dozen rewrites of the ending, sneaking in hints of the Blank’s identity, such as, “Why, look who it is under the mask…” said Tess, breathlessly. No sale. About a page was cut from the book.

I won only one small concession – that any printings after the film came out would include the full ending. Only one small print run represents the complete novel (the sixth, distributed to school book clubs).

There can be no doubt that I hold a singular honor among mystery writers – I wrote a bestselling whodunit… without revealing whodunit.

Perhaps by way of apology, the Disney people flew my wife, son, mother and father and me to the film’s premiere at Disneyworld in Florida. They treated us great. Everybody attached to the movie treated us great, including Warren Beatty. We did a big press get-together with many of the stars. I was doing a Mumbles continuity in the Dick Tracy strip at the time, and Dustin Hoffman (who played Mumbles in the film) read me that day’s strip from a local paper, doing Mumbles’ dialogue in character. Doesn’t get much better than that.

Two postscripts: in our Disneyworld hotel, a coloring book on sale – an item that (it turned out) had been available to the public for several weeks – included the Breathless-is-the-Blank ending. As we say in the funnies, “Sigh….”

Also, the wonderful actress Estelle Parsons (who played Mrs. Truehart in the film) wandered into a bookstore at Disneyworld, where I was signing copies of my open-ended novel. We spoke, and she was very sweet, and I said to her, “You had to re-shoot your big scene, didn’t you?”

She looked at me, amazed. “How did you know that?”

And I told her.

* * *

I have no idea how long I’ve been writing these Update/Blog entries, but it’s been long enough that I’ve had to mark the passing of friends and heroes, as well as friends who were heroes.


Wayne Dundee

I can’t say Wayne Dundee, who passed away recently, was a close friend. There was a time when we were. Seeing him gone does make me feel like the Last Man Standing – of my closest mystery crew, we’ve lost Ed Gorman, Bob Randisi, Steve Mertz, John Lutz, Bill Crider and probably more that I am criminally forgetting.

Wayne was the founding editor of the long-running fan/prozine Hardboiled (more “pro” than “fan” because it was always a paying market). He was one of the first fans who reached out to me, and he specifically wondered if I had anything in my drawer that he might print in his ‘zine, which ran mostly to (as you might imagine) hardboiled crime and detective fiction. As it happened, I did. A novel called Mourn the Living with a character initially called Cord and later Logan and even later (and permanently) Nolan had been stored away long ago.

I got the moldering manuscript (literally, not figuratively) out of a box in the basement and talked Barb into retyping it for me. She did this, gracious partner and writer that she is; and I did a light edit, not wanting to interfere with what the young writer (I’d been 19 when I wrote it) had in mind. Wayne, who specifically described himself as a Nolan fan, eagerly took it and had me break it into several parts for serialization.

Eventually it was collected into a book, and it was recently a bonus feature of sorts in Mad Money, the latest reprint of my Nolan-heists-a-shopping-mall novel, Spree.

Thanks, Wayne.

I vaguely recall reading Wayne’s early work in manuscript, and providing some notes and encouragement; but that memory is vague. I do know he went on to do nine Joe Hannibal mysteries, wracking up several Shamus nominations. A career as a private eye writer is hard to maintain (tell me about it!) and he eased quite naturally into becoming a highly regarded western writer. The last time I heard from him, and it was a post here, was him encouraging me to show my grandson western movies, and to agree that Costner’s Horizon was woefully under-appreciated.

Wayne also appeared in one of my movies! He was the hulking, bearded prison guard who backed up the great Del Close in the scenes regarding the botched attempt to execute Mrs. Sterling (aka Mommy).

James Reasoner, one of the other last men standing, writes a brief but lovely tribute to Wayne here.

* * *

I seem to be a more or less contributor of a segment to Rob and Dieter Bastian’s infectious YouTube show, Let’s Get Physical Media. I’m on as a noir/crime/mystery expert. The weekly episodes usually are on Sunday afternoon, and I have been coming on around 2 pm Central for half an hour or so.

M.A.C.

Fruitcake at the Last Picture House, Plus Nate Heller

Tuesday, May 13th, 2025

We had a terrific Quad Cities premiere for our film Death By Fruitcake, starring Paula Sands, Alisabeth Von Presley and Rob Merritt. It was a packed house at Davenport’s stellar The Last Picture House, the theater that’s the brainchild of our bigtime local filmmakers Scott Beck and Bryan Woods (who brought you A Quiet Place, Heretic and more).

We had a number of cast and crew members on hand, including Paula and Rob, and I led (with producer/d.p./editor) Chad Bishop a Q and A after. I took a spill off the riser onto my back but (with help) got onto my feet to helm the Q and A. Definitely a “show-must-go-on” moment, because I am still (it’s Sunday as I write this) recuperating from my own impromptu stunt-man feat.

Despite this, it was a wonderful evening, thanks to Last Picture House manager Jameson Ritter. Our two Muscatine screenings late last year were marred by sound problems (far too soft, something we weren’t able to rectify on site), but we were nicely loud and pretty impressive on the big screen. For a little movie designed to find a home (or homes) on a streaming service(s), this kind of theatrical exhibition was a rare treat for us (and, I think, the audience).

We promoted the event with an appearance on Quad Cities Live, the afternoon show that followed Paula Sands Live on her retirement from broadcasting. It was fun seeing Paula return to the site of her huge regional success. And what a Vivian Borne she makes! Alisabeth Von Presley, our equally impressive Brandy Borne, couldn’t make it to the event (she was choreographer on a high school production in Cedar Rapids that evening). But what a thrill for Barb and me to see our Barbara Allan/Antiques characters come to such wonderful comic life.

Max Allan Collins and Paula Sands on Quad Cities Live
L to R: Kyle Keil (host), Morgan Ottier (host), M.A.C., Paula Sands

Whither Death by Fruitcake? We are talking to various distributors now. I fully expect us to be streaming for this year’s holiday season. Getting on physical media is a trickier proposition as that market has just about vanished except for blockbuster films and the boutique labels, which specialize in horror and cult items, where we don’t fit. That doesn’t mean I won’t try.

If you want to help us in our filmmaking efforts, take a look at Blue Christmas on Tubi right now. Don’t wait for an invitation from Santa.

photos courtesy of The Last Picture House
Rob Merritt, M.A.C., Tommy Ratkiewicz-Stierwalt at The Last Picture House for Death by Fruitcake
L to r: Rob Merritt, M.A.C., Tommy Ratkiewicz-Stierwalt
Tommy Ratkiewicz-Stierwalt and Paula Sands at The Last Picture House for Death by Fruitcake
Tommy Ratkiewicz-Stierwalt and Paula Sands
Q and A post-QC premiere at the Last Picture House
Q and A post-QC premiere at the Last Picture House. L to R: Tracy Peltzer-Timm, Chris Causey, Tommy Ratkiewicz-Stierwalt, Cassidy Ptacek, Rob Merritt, M.A.C., Paula Sands, Chad Bishop
L to R: Paula Sands, Chris Causey, Rob Merritt, Barbara Collins, M.A.C., Chad Bishop at The Last Picture House for Death by Fruitcake
L to R: Paula Sands, Chris Causey, Rob Merritt, Barbara Collins, M.A.C., Chad Bishop

L to r: Tommy Ratkiewicz-Stierwalt, Rob Merritt, Tracy Peltzer-Timm, M.A.C., Lucy Collins, Nathan Collins, Abby Collins, Sam Collins

This link will take you to Paula Sands and me appearing on Quad Cities Live, the show that took the place of her Paula Sands Live, from which she retired after decades of Emmy-winning broadcasting. For longtime fans of my work, you should recall Paula’s wonderful appearance, spoofing herself and her show, in Mommy’s Day (1997).

* * *

Here’s an unexpected but welcome review of my 1983 novel, True Detective, which introduced Nathan Heller and my format of weaving a detective story in with actual events/crimes.

It’s interesting to me that a review of a novel I wrote in 1981 and was published in 1983 would appear in 2024 (!).

Two things should be noted, however: the reviewer uses True Detective to recommend the entire series; and it’s appearing just as True Noir: The Assassination of Anton Cermak is getting some nice notice, which may have sparked this review.

True Noir is, as those of you who drop by here regularly know, a ten-episode audio drama with a full cast, sound effects, and score. I consider it the best adaptation of my work done to date (but then why wouldn’t I, having written all ten episodes myself). The cast is incredibly stellar, and our Nathan Heller – Michael Rosenbaum – just effing nails it. The score by Alexander Bornstein is mesmerizingly terrific, and the whole thing has been expertly directed and edited by Robert Meyer Burnett.

You may know Rob from his several YouTube shows (Robservations, Let’s Get Physical Media, regular guest on The John Campea Show), but he is much more than that – an accomplished film director (Free Enterprise), documentarian (Star Trek; The Next Generation), editor (Femme Fatales) and producer (Tango Shalom, aka Forbidden Tango).

All ten episodes of True Noir: The Assassination of Anton Cermak are available at truenoir.co, $29.95 for the complete audio drama – four-and-a-half-hours worth. If you are a member of the Nathan Heller Fan Club (well, there isn’t one, but you know what I mean), you will lose your non-membership in good standing if you haven’t ordered yet.

And I would welcome comments/reviews here from those of you who have enjoyed it thus far.

We will be available on other platforms eventually, but for now it’s truenoir.co. And there’s stuff to look at there, including links to episodes of my History Behind the Mystery video series (directed by my longtime collaborator, Phil Dingeldein) that looks at the real events depicted in each episode.

M.A.C.

A McGinnis Cover! A Dream Come True…Plus True Noir!

Tuesday, April 22nd, 2025

Robert E. McGinnis died recently at 99, and that was still way too damn soon.

Bob McGinnis I spoke to only once, though he paid me a great, generous kindness, which I have talked about here previously but will touch on again, below.

McGinnis was the prime illustrator of mystery/crime paperback covers of the 20th into the 21st Century, and also a major contributor to movie-poster art. There are other contenders to that throne – James Avati, Robert Maguire, Barye Phillips and half a dozen others – but McGinnis was the king. As J. Kingston Pierce said at Crime Reads a few years ago, “McGinnis has turned out well over 1,000 covers, including many for books by John D. MacDonald, Carter Brown, Edward S. Aarons, Erle Stanley Gardner, Brett Halliday, Ed McBain, and Max Allan Collins….(H)e’s also illustrated dozens of movie posters…from the James Bond films to Dean Martin’s Matt Helm flicks.”

I do not take lightly being on a list of noir mystery writers that includes the luminaries on the J. Kingston Pierce list. Nor do I exaggerate when I say I had hoped, as an adolescent wanting to be a mystery writer, that one day I might be lucky enough to have a book of mine with a McGinnis cover.

McGinnis only did a few covers for Mickey Spillane novels. Mickey had just about every top illustrator in the game adorn his books from time to time – Avati, Phillips, Lu Kimmel, James Meese among them. During the heyday of the paperback original, McGinnis was noted for his stunning covers for the Brett Halliday “Mike Shayne” reprints at Dell. Several foreign markets used Shayne covers for various Spillane titles.

Meanwhile, at the movies, McGinnis was doing one stunning poster after another for the James Bond series, particularly the early Sean Connery entries, which were the best of the Bond bunch (McGinnis did other Bond movies, too, including most of Roger Moore’s). But Bond wasn’t McGinnis’ only movie poster work – among other famous films, he did the poster art for Barbarella, Breakfast at Tiffany’s and The Private Life of Sherlock Holmes (in addition to many others).

Poster Art for You Only Live Twice

I will repeat myself – I spoke of this not long ago here – but after Charles Ardai published the first two Nolan novels (Bait Money and Blood Money under one cover as Two for the Money), I said I preferred writing new novels for Hard Case Crime. Charles said the advances would have to be the same as the reprint rate, and I said, fine – just put a McGinnis cover on my novel. That was half-joking, because Two for the Money had a weak cover among the usually stellar covers of HCC novels. But Charles called my bluff and got McGinnis to do the cover for The Last Quarry, which initiated the return of that character to a whole new series of novels, a short film, a feature film and a TV series (one season, but that counts).

As I’ve also mentioned here previously, when I called Bob McGinnis (Charles put me in touch) to tell him how thrilled I was with the cover for The Last Quarry – that after a career filled with mostly serviceable covers at best, having a McGinnis cover was a dream come true. He repaid that compliment by gifting me the original art, which hangs on my office wall, just up to my right as I write this.

When the aforementioned Quarry TV show sparked renewed interest in the character, Charles wanted to get the five early novels out as a group; but Hard Case Crime is noted for its strong pulp-flavored covers, which you might reduce to “guns and girls,” a certain cheeky politically incorrectness attached to their retro cover art. Only Charles didn’t have time to assign five artists to get five cover paintings, done all at once, and cover paintings were key. And he preferred to have the same artist do all five for some continuity.

I suggested to Charles that he call Bob McGinnis and see if any paintings might be available – perhaps things he had done for other publishers years ago, the rights to which might have come back to him. Charles did this, and discovered that McGinnis had five appropriate unused paintings in his inventory, all with the flavor of the old Mike Shayne covers. These apparently were the only such unsold paintings that still existed.

Quarry Hard Case Crim cover

Charles snapped them up, and those Quarry novels all sport McGinnis covers as well as an inset image of Quarry plucked from Bob’s cover to The Last Quarry. In addition, three more of my novels (one of them a Spillane collaboration, The Consummata) have been blessed with McGinnis covers. I may have a record for mystery writers of my generation – ten Robert McGinnis covers on Max Allan Collins novels.

Astonishing.

One of the peculiarities of my association with Hard Case Crime is that Charles (and the folks at Titan, the parent company) will say “yes” to just a general idea of the book I have in mind to write. This means cover art gets assigned before the book is written. This happened twice with McGinnis covers – Quarry’s Choice and Quarry’s Climax – which had artwork come in before I’d written a page, and allowed me to write the women and the scenes McGinnis had imagined into the novels themselves.

That was an old pulp tradition that both Charles and I relished – a writer being handed a piece of art and asked to write a story around it. In his later years, McGinnis had a tendency to offer up slender, leggy beauties and that led to me including some women in my novels that varied from my standard blonde, Coke-bottle-waist bombshells (blame my beautiful blonde wife for that). The result was I had to work a little harder and be more creative, both good things.

I was blessed with one last McGinnis cover, when he painted a rather magnificent one for the Mike Hammer graphic novel The Night I Died, based on material written by Spillane and expanded and re-imagined by me. Mike Hammer: The Night I Died not only has two, count ‘em, two long-limbed McGinnis beauties, but a very credible rendition of Hammer himself, who has rarely appeared on book covers. (This graphic novel was also serialized in four issues, also with lovely covers but none by McGinnis).

What can I say about this incredible artist and genuinely nice man, who has entertained me for years and who provided some truly memorable covers to eleven works of mine?

How about – thank you.

* * *

Barb and I listened to the complete True Noir: The Assassination of Anton Cermak this past weekend. It’s four and a half hours long, so we divided it into two evenings.

Okay, I’m biased. But I think it’s terrific, thanks to director Robert Meyer Burnett, composer Alexander Bornstein, a stellar cast led by a fine Nate Heller in Michael Rosenbaum, casting director/producer Christine Sheaks, producer Mike Bawden, co-producer Phil Dingeldein, and a raft of talented professionals skilled in audio production.

If you are even a casual fan of my work – and in particular if, like me, Nate Heller seems to you to be my signature character (no offense, Quarry) – you will want to hear this production. The toughest critic I know – Barbara Collins – said, “I thought it would be good. But it blew me away. Wow!”

I mentioned Alexander Bornstein above, and he has provided True Noir with a full, memorable score. So memorable is it that not only will there be a soundtrack album, but it will be a 2-CD set. Our Blu-ray of the production, which will include the ten episodes of The History Behind the Mystery and a lot more, will likely include the soundtrack CD’s.

This is not a talking book or a radio show – it’s a movie for the ears and the mind.

Go to truenoir.co and hear for yourself.

M.A.C.