Cue Scarlett O’Hara shambling beaten and ravenous into what’s left of Tara’s gardens. She roots in the dirt for anything, anything to eat. The music swells. Scarlett digs up a radish and tries to devour it raw. She wretches, gathers herself, and declares to a fiery sky that she’ll never go hungry again.
Like other movies turned pop culture shorthand, Gone with the Wind makes common language to talk story mechanics, thank you Margaret Mitchell and Victor Fleming. We all know Scarlett and her arc, how this moment cues her shift in motivations come Act Two. We remember her Big Declaration as alive with Continue reading “SETTING ABLAZE”
First, a numbness. A chill that says you shouldn’t have gone and bit in, that something wicked this way comes. The heat does not flood in, yet. It builds. The nose starts to run, and your voice catches. Your body knows only to sweat. Because it’s too late to run. With Nashville hot chicken, the flames pause just that moment before they consume.
Lately, hot chicken has gone from cult food to kind of a thing. Even KFC is in on it–not authentically, mind you. Lest you think I’m the latest bandwagoneer, my 2015 “Let It Burn” submission to Alfred Hitchcock beat KFC to the punch by some months. The publishing world is itself a sweet, slow burn.
I’m incredibly proud that last year’s “The Cumberland Package” (AHMM, May 2016) has been named a finalist for the Short Mystery Fiction Society’s Derringer Awards. I mean, like busting-at-seams proud.
Of being named, because the crime space these days is terrific in its voice and depth. The stuff that leaves me vibrating explores in stark terms human nature at core. Not much more human than the crimes we choose to commit–or choose not to.
And there’s the bust-at-seams honor. Any story of mine is thought even near the best of that buzz level?