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Lupo's World ~ A Blog

Guest blog post: "Shaping a PI Character: Mike Angel (a.k.a. D'Angelo)" by David H. Fears

W.D. Gagliani: In my continuing attempt to showcase not only horror, but thrillers and mysteries and eventually other genres, as well as the wonderful ways they can be blended, here is David Fears, who writes sexy hardboiled PI fare -- fans of Chandler and Hammett -- plus Spillane and Halliday, take note!


I came to fiction rather late in life. After 50 (the late 1990s) I realized that save for a few required novels back in college, I hadn’t read much fiction, but had focused on non-fiction—history, how to do books, etc. Whatever writing I’d done suffered from the foggy lingo of “academese.” Then I bought a bunch of Easton books—you know, those wonderful leather editions, etc. Soon after I was immersing myself in literary fiction as well as 50 or so books on writing fiction, and took part in several online crit groups. I did take one useless graduate class on fiction writing. After a few dozen short stories and a dozen or so published by obscure magazines, I thought I’d write one about the stereotypical private eye, but had no basis for the character beyond a few Bogie films. So, I scoured out a bunch of sales and bookstores and read over 50 different PI tales. I joined Private Eye Writers of America after I’d done a couple of PI short stories. All the advice I got was to make my PI stand out from the others—make him different, yet keep within the genre limits.

I fell in love with all things Raymond Chandler. I still read him and find him fresh and enchanting. Even though I liked his mentor, Dashiell Hammett, and was chilled some by Mickey Spillane, I thought Chandler lifted the PI genre to a higher plane, a literary plane.

The PI is a descendant of the Wild West gunslinger hero, a loner who had to keep peace by his six-shooter, fists and courage. A loner against lawlessness. Moving into the 1920s and 30s the PI was still a loner, but now fought against political and urban corruption as well as other crime. Save for a few rare passages, when it came to sex, the PI’s I read about just faded to black after some flirtation. I didn’t want to write porno, but had enough poetry in my prose to take the sex scenes further, and try to write them well without too much graphic description. I see this as a major change from the traditional PI tale, and one that’s perhaps more accepted today. I still seek to write in the mainstream of the genre, however.

While writing my first PI short stories, I discovered I too was a loner, loving the kick-in-the-ass, anti-PC aspects of the genre. They were a blast to write! My first novel, Dark Quarry, resulted from the “stitching” together of 4 short tales of PI’s. Not something I’d recommend as it was so much work, but it got me past my anxiety about writing anything as long as a novel.

Mike Angel is a romantic with a weakness for a wide variety of dames, especially those in trouble. He began as an investigator at the young age of 30, taking up his late father’s ambition to establish an elite agency. He changed his name from D’Angelo to Angel upon the murder of his father. Mike’s other quest, if it is one, is to find the perfect love, though even after it’s clear that he’s succeeded, he struggles against commitment and losing choices. He also struggles about his career choice, his failings for women in trouble, and his suitability for Molly. He’s somewhat of a cynic like other PI’s but not completely so. At times he’s downright moonstruck. Like other tough guys he had a weakness for the bottle, too, but overcame that after drying out at a sanitarium.

I also differentiate Mike with a touch of the supernatural—after taking up his late father’s cross Mike “hears” his voice in times of imminent danger. He also gained a long scar on his jaw from hunting down his dad’s killer. Dad “tells” him that he may warn Mike about dangerous situations through sensations in the scar, especially when St. Peter has limited his “quota of words.” Mike knows the voice is his dad’s, that it’s heard only by him, but isn’t quite sure if he’s inventing it as a way of holding on to his father or that he’s going nuts, strain from investigations. He doesn’t hear the voice at other times, usually, so isn’t sure how real it is. Mike’s ambivalent about investigating as a career but secretly enjoys the violence sometimes involved. Big cases are his meat. The “voice” and his love of violence are restraining elements that keep him from fully committing to Molly Bennett, his rose-colored-glasses love interest.

My Mike Angel Mystery novels (having finished 7 now) have been compared to Chandler, Spillane, and others. For me this is the highest compliment, but no one will attain Chandler in my estimation. I’ve also been influenced by John Lutz, and Loren Estleman.

Along the way I developed Mike’s partner and alter-ego, Rick Anthony, a retired NYPD detective and partner of Mike’s late father. Rick is over-educated with a stunning vocabulary, and a horndog for his age (in his 60s). Molly Bennett became their office whiz—she’s permanently optimistic, a judo student (brown belt) and is convinced she’s the right woman to settle down with Mike. Yet, she gives him enough rope to slowly reel him in. These two main characters were built from Mike’s influence, and met the sorts of traits that he might do well with. Still a loner by instinct, he appreciates Rick’s analytical balance and 29 years of NY street experience.

Putting together a PI character has been fun and productive. I know just what Mike will say and do in any situation now—as I do the other two main figures in the stories. Mark Twain said to create good characters and turn them loose. Mike, Molly, and Rick often ask me to begin another episode. When I do, they simply take the ball and run with it.

David H Fears
February 2012


By way of a bio, David Fears adds:

Back in 1971 I discovered that Mark Twain had traveled through my hometown in 1895 on the way to his world tour to get out of debt. That seed began to grow until in 2004 I began what has become a monumental, 4-volume work, Mark Twain Day By Day, an annotated chronology in the life of Samuel Langhorne Clemens. Each volume (3 are now published) is 1150-1250 pages, and sell to universities, libraries, societies, and Mark Twain scholars. Just before I got into the Twain writing, I began writing short stories, a few of which morphed into a hardboiled private eye detective novel. After studying hundreds of such books, and admiring Raymond Chandler and Mickey Spillane's work, I wrote four of them--and oh! how much fun they were to write. No one had to be politically correct, and the protagonist was driven to live up to his father's legacy--he was too young to be a PI at the start (30), but he had the help of his late father's detective partner on the NYPD, and the love of a good woman who was willing to wait until wild oats were sewn. So I got totally wrapped up in these characters. I believe good mysteries must be complex page turners; hardboiled should have the protagonist fighting corruption. There's sex, violence, and psychological reflection in my novels. I also studied composition theory, and read thousands of short stories. I taught writing at two for-profit colleges. Like Mark Twain, I love cats, am father to 3 girls, and am a westerner who has lived in various parts of the country. Read More 
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Guest blog post: "killer ideas" by Simon Wood

WD Gagliani: If you've ever been asked THE question...


I live with a cold blooded killer. I haven’t turned him in to the cops because he’s my cat, Tegan.

He’s on a roll at the moment. It’s spring and that means young and inexperienced creatures are poking their heads from their protective homes and Tegan is there to bite them off. I spent last week picking up the chewed remains of mice, rats, birds and a lizard. As soon as I’d drop a carcass in the trash, he’d have the remains of something else dangling from his jaws.

“Tegan, you git. Stop killing things.”

He’d look at me with a typical cat arrogance that said, “Yeah, right.”

After I’d dealt with his latest trophy and sat down, he joined me on the couch for cuddle and a purr (okay, I purr. It’s what I do). I stared into his big eyes and I looked for a sign of remorse and obviously saw none. Morally, he wasn’t doing anything wrong. He’s an animal and his genetic code is programmed with the need to hunt and kill—irrespective of how much kibble I give him. He’s doing what he’s supposed to do. But he takes lives on a pretty regular basis without a hint of killer’s repentance.

That chilled my human sensibilities.

Transpose Tegan’s killer instinct to a person and that person wouldn’t be a cute, furry companion, that person would be a psychopath, no ifs or buts. Tegan can wander in from a kill, snuggle up to me for companionship then clean up the two kittens he’s rearing. Sounds cool for a cat, because we accept this as cat behavior, but we don’t accept this behavior in all things. Substitute a person for Tegan and Tegan’s behavior would present a very different picture. Imagine a father like any other caring for his family while there is still blood under his fingernails. This is serial killer country.

People always ask, ‘where do you get your ideas?’ I don’t have to trawl through the aisles of the true crime section to learn about killers, or even experience terrible events. Sometimes, I don’t have to leave the house.

Stories are out there waiting to be discovered. Anything and everything can be the ignition source for a story. It’s all about watching the world around me and seeing how things interact and what everyone else misses. Usually, it’s the little things that people miss that make for the best stories. With a little ingenuity, the mundane can become the extraordinary.

So Tegan could be the genesis for a very nasty killer. All it takes is a little imagination and a dash of transposition. :-)

Yours on golden pondering,



Simon Wood is an ex-racecar driver, a licensed pilot and an occasional private investigator. Simon has had over 150 stories and articles published. His short fiction has appeared in a variety of magazines and anthologies, and has garnered him an Anthony Award and a CWA Dagger Award nomination, as well as several readers’ choice awards. He’s a frequent contributor to Writer’s Digest. He’s the author of WORKING STIFFS, ACCIDENTS WAITING TO HAPPEN, PAYING THE PIPER, WE ALL FALL DOWN, TERMINATED and ASKING FOR TROUBLE. As Simon Janus, he’s the author of THE SCRUBS and ROAD RASH. Curious people can learn more at http://www.simonwood.net
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Guest blog post: Monsters and Me by Brian Pinkerton (author of Rough Cut, Bad Moon Books)

W.D. Gagliani: Yeah, most of us who admit to writing horror grew up just a little twisted, a bit warped. And we wouldn't trade it for the world. Maybe, maybe for... a million dollars.

Monsters and Me
By Brian Pinkerton

Blame it on the babysitter. Or perhaps the Chicago Symphony Orchestra. You see, it all started like this. When I was little, my parents routinely escaped the terrors of three rowdy young boys by going downtown on Saturday nights to enjoy the Chicago Symphony Orchestra. Our teenage babysitter did what most teenage babysitters would do, she turned on the television to distract us from tearing up the house.

And that is how we discovered WGN-TV’s Creature Features, a weekly offering of monster movies unlike anything we had ever seen before. I recall the first movie to dent my brain was War of the Gargantuas, a Japanese epic about two enormous ogres (one green, one brown) battling it out in Tokyo, shoving one another into crumbling skyscrapers as the military counterattacked with tanks, bombs and lasers. The mayhem was positively thrilling and left a lasting mark. (Imagine my surprise during this year’s Oscars telecast when Brad Pitt declared the same movie to be a cherished memory from his childhood.)

In the following weeks and months, Creature Features introduced me to many of the Universal classics of the 1930s and 1940s, and I relished in their moody, black and white worlds. My hunger for monster movies extended to the cheapie 1950s and 1960s horrors regularly screened on Saturday afternoons on fuzzy UHF channels – dumb but compelling films like Attack of the Puppet People and Death Curse of Tartu.

When an elementary school classmate excitedly told me about a terrifying TV movie featuring a haunted house, it became my mission to track it down. He described the chilling scene of a woman hearing a baby crying in the middle of the night and tracing it to a jar of glowing red goo in an old shed.

I combed the TV Guide for the movie’s reappearance and when it showed up for a late night rerun, I pestered my parents into letting me stay up to watch it in exchange for a nap earlier in the day. The movie was indeed super eerie and many years later I discovered the director was none other than Steven Spielberg. The title is Something Evil, one of Spielberg’s earliest, most obscure films and to this day it remains unreleased on DVD, adding to its vague, dream-like existence.

I remember my other personal entries into the world of horror: the fantastic wolf man painting on the cover of Famous Monsters of Filmland # 99, gleefully out of place among the ladies magazines stocked at the local grocery store…Bernie Wrightson’s Swamp Thing comic book…Jack Kirby’s The Demon…television’s Kolchak The Night Stalker…short stories by Richard Matheson.

Whenever my interest in horror waned, there would be something unexpected to rev it back up. I remember seeing the original Halloween in a theater packed with shrill teenagers screaming in unison like a massive chorus – it remains one of the most electrifying movie experiences of my life.

I found bad movies endearing, too, and grew particularly fond of Ed Wood films before he became a household name. There are still people who won’t forgive me for making them watch Glen or Glenda and Plan 9 from Outer Space.

Some passions of my childhood dissipated over time but somehow the monsters endured. There is something about the thrill of a safe scare that invigorates us in our stale, ordinary adult lives. We all like fake frights with a soft landing because there are too many real terrors in everyday life – just watch the evening news.

The classic horror films continue to reach new audiences through their original incarnations, sequels and remakes. (A new version of I Spit on Your Grave? Seriously?) Zombies are back in style (TV’s Walking Dead), vampires are hot (the Twilight books and movies) and werewolves haven’t lost their bite (Bill Gagliani’s wonderful Nick Lupo series).

My passions inevitably become my creative outlets. As a writer, my earliest novels were suspense thrillers (I also love Hitchcock) but more recently I have been creating horror stories with satisfying results.

My newest book, Rough Cut, is a big, affectionate tribute to the world of horror movies. It features a deadly rivalry between two horror directors – a legendary ‘80s slasher filmmaker and a contemporary “torture porn” hotshot. There are references to everything from Bela Lugosi to Blair Witch.

Rough Cut has got horror, humor and heart…it’s my letter to the genre that has kept me wonderfully entertained for so many years.


Brian Pinkerton is the author of Rough Cut (Bad Moon Books), as well as Abducted, Vengeance, and Killing the Boss. He can be found at http://www.brianpinkerton.com. Please see a purchase link for Rough Cut at left. Link for the Rough Cut paperback: http://www.badmoonbooks.com/product.php?productid=2317.
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