Tag Archives: ball

Jul 01

“The Expendable Man” Author Peter G. Pollak Visits with Mike Angley

MA: My guest today is Peter G. Pollak. Peter is a retired business executive who has also been an educator and editor of two weekly newspapers. He also runs a web business where he interviews people, and he writes a blog on New York State government and politics.
Welcome, Peter. Please tell us more about your background.
PP: My working titles have included visiting professor, editor, publisher, CEO and lately chairman (of the company I founded), but what has characterized my professional career has been a willingness to take a risk in order to make a difference. After finishing my B.A., I spent a year as a VISTA Volunteer. Although I went back to school and eventually earned a Ph.D. (in history and education), in between I was editor of two alternative newspapers. In 1985, I said good-bye forever to being an employee and started a press release delivery service which is still in existence (under the name readMedia). I’m semi-retired now, spending most of my time writing.

MA: With your particular credentials in business and journalism, how did you end up writing fiction?

PP: I love to read fiction. To me fiction is on par with painting, sculpture and music as a higher art form. It requires both talent and dedication and good fiction rewards the reader by transporting h/h to another reality. In doing so, the reader can experience life’s horrors and its potentials.
MA: In your novel, did you create characters based upon people you’ve known in your personal and professional life?
PP: I don’t draw on real people for my characters. I suppose my characters are composites of people I’ve met, read about or come in contact with in some other way.
MA: Tell us about your novel.
PP: The Expendable Man is a political thriller. The protagonist is thrown into a bad situation for which he is ill prepared. He not only has to find a way out of that situation, but in order to regain his life he must find out why he was put there in the first place. He must survive the crucibles of being wrongly convicted of a crime and contracting a normally fatal illness.
MA: I love political thrillers. What makes your hero who he is? Strengths? Weaknesses?
PP: At the beginning he’s all about himself. He lacks family or friend. He’s not a bad person, but one who hasn’t allowed himself to smell the roses. No one can go through hell without being changed in the process. I hope my readers see the changes that take place in his personality as he struggles to regain his health and his freedom.

MA: Every good thriller has to have a bad guy, so I assume you have a unique one?

PP: Yes, of course. There is the person who sets the ball in motion and the one who has to do the dirty work of making my protagonist “expendable.” Readers may recognize their types.
MA: I imagine you don’t have any real life experiences that you drew from to create your story, or do you?
PP: I’ve been behind bars…for a few hours. I was arrested when I was about 19 for violating a local ordinance, selling without a permit. I was trying to earn money one summer selling encyclopedias. Later I had the privilege of teaching political science 101 to inmates at more than one NYS Correctional Institution (prison). What’s worse than being locked up? Answer: facing a deadly disease. What if you had to contend with both? That’s the fate of my protagonist.
MA: Well, I never saw that coming! What are your future writing plans?
PP: I’m working on a mystery which I hope to finish by the end of the summer and then publish a second mystery set in the same city using two of the characters from the first one. The protagonist of The Expendable Man has ridden off into the sunset. I’ll let my readers imagine what his life is like, but I think readers will like the main characters in my next two novels — Jake Barnes, a retired cop turned P.I., and Karen Battaglia, recently promoted to detective on her local police force.
MA: Excellent! Any parting thoughts for my readers?
PP: If you live in the Baltimore/Washington, D.C. region, I’d be happy to do a reading for your book club or other organization. Contact me through my website: http://www.petergpollak.com/

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Feb 04

Steven Jay Griffel, Forty Years Later Author, Joins Mike Angley

MA: My guest today is Steven Jay Griffel. Steven was born in the Bronx, 1952. He tells me he, “met a beautiful blue-eyed art student in my junior year at Queens College (BA, Creative Writing, 1973) and married her in 1976. We’re still holding hands.” Steven studied American Literature at Fordham University, and he and his wife have two beautiful daughters, Sarah and Julia, grown and on their own. He spent his professional life in publishing, and he still works as a publishing consultant, though most of his time is now spent writing novels and talking about them. Steven is a frequent speaker and guest lecturer and especially enjoys leading book club discussions about his novel, Forty Years Later.

You told me you thought writing was a part of your DNA. How did you describe that, again?

SJG: I’m a born storyteller: sired by a father who never met a fact he couldn’t spin into fancy, and by a mother whose bitchin’ neuroses could make a grudge match of any relationship. From my father I learned there is no division between truth and fancy, just a wonderful gray area where imagination and ego could thrive. From my mother I inherited a genius for nursing regrets and grudges, so I’m never at a loss for reasons to rant.

I was raised on the colorful streets of the Bronx, where home plate was a manhole cover; where there was a pizzeria and deli on every other block; where there were always enough kids for a ball game; where it was okay to be Jewish, so long as you didn’t piss off those who weren’t.

MA: Well, that’s a colorful life! How did you decide to write novels? Was it always something you longed to do?

SJG: I wasn’t cut out to be a scientist or movie star or athlete. But I always had lots to say—and a talent for saying it well. In college I considered a career in journalism—until I learned I’d have to stick to the facts. I like facts, but I much prefer the novelist’s god-like sense of entitlement. As a novelist I decide the facts. I decide who rises, who falls. If I need a perfect line I create it, rather than relying on interviews and research for my gold. Thus I prefer fiction, where the music and meaning of words have primacy over facts. . . . I just remembered a pair of wonderfully relevant quotes:

“Journalism is literature in a hurry.” –Matthew Arnold

“Literature is news that stays news.” –Ezra Pound

I like to think that my writing is meant for the long haul.

MA: Well said! So tell us about Forty Years Later.

SJG: A middle-aged man (smart, handsome, happy, successful) has a single, gnawing regret: a lost opportunity to make history. He has kept the regret alive for forty years, continually picking at the scab of its memory. A coincidence (Fate, if you believe in such things) reunites this man with a former teen sweetheart who is very much a part of his regret. The man is married with children, the woman is famously and formerly gay, and their reunion results in the kind of sparks that presage trouble. It is a tale of music, movies, murder—and madness too. It is also a story of love and redemption—except for those who are probably going to Hell.

MA: Oh my! So had did you develop your protagonist’s character? Sounds like there may be a little of you in him…

SJG: Until recently, I too had a gnawing, life-long regret. Like a cancer that does not metastasize, it was annoying but not life-threatening. A complicated coincidence reconnected me with someone I hadn’t seen in forty years: a successful screenwriter who is best known for writing about the subject that framed my regret: Woodstock. We met and hit it off—big time. Of course, I was happily married with children and wouldn’t think of getting involved with another woman—but I have a protagonist; an alter-ego; a doppelganger, I suppose, and this fellow (named David Grossman) has been known to explore roads I dare not travel myself.

MA: So, what are David’s strengths and weaknesses?

SJG: Like many people, the novel’s protagonist is a miracle of contradictions. He is clear-seeing despite his blind spots; confident when not suffering from crises of self-esteem. He is a man who misplaces loyalties and manufactures jealousies. He loves and is loved but sometimes loses his way. All of which is to say, he’s flawed enough to get himself into a royal pickle—and brave enough to see his way out.

MA: What about an antagonist … is there a unique “bad guy” or a recurring nemesis of any kind?

SJG: There is a brilliant, formerly famous lesbian screenwriter with a blind lover and hip-hop son, who becomes a vengeful alcoholic with a particular fondness for dangerously sharp objects. Unique enough?

MA: (Smiling) Okay, so did any of your real-life experiences factor into the plot at all?

SJG: I also nurtured a life-long regret tied to someone I had not seen in forty years. We were reunited. Sparks flew. . . . Note: The real-life tale is private and tame and not worth the telling in this space. However, the novel it inspired is rip-roarin’. But it is not a story for the faint of heart or for those of unbending scruples. It is tale signifying: One is never too old to change; Beware what you wish for; There is no greater grace than tried and true love.

MA: Excellent! So what’s next for you?

SJG: I am working on a new novel called The Ex-Convert. It is, loosely speaking, a sequel to Forty Years Later. Though I am now in the enviable position of having a publisher waiting for my next book, I have no guarantee of publication. My publisher believes I hit a home run with Forty Years Later and demands I hit another one with The Ex-Convert. Batter up!

MA: An enviable position to be in…so will any characters from Forty Years Later migrate over?

SJG: David Grossman is the protagonist in each of my novels, and I haven’t sworn off him yet. Having said that, he is not quite the same character in each book. His voice and sensibility are pretty consistent, but his circumstances vary: he has a wife or not; he has a family or not; he lives in New York, or not, etc. Expect to see him again in the Ex-Convert.

MA: How do readers get a copy of your book?

SJG: Forty Years Later is available as an e-book on Amazon.com. The download is incredibly fast and easy. And no special reading device is required. Most people enjoy Forty Years Later on their computer, PC or Mac. But with each passing day more and more people are using e-readers (like the Kindle) or tablets (like the iPad) or screen phones like the Android, Blackberry, or iPhone. In fact, one of my first readers sent me the following text message from his iPhone: “Reading Forty Years later at 40,000 feet—and loving it!” I also encourage readers to friend me on Facebook and share their thoughts. It’s a digital dawn!

MA: Well, thanks, Steven. Folks, please visit these websites for more information about Forty Years Later and Steven Jay Griffel!



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Feb 02

That Pesky Letter “S” As Only Mary Deal Can Tell Us

The letter S
Mary Deal

Drop the s. If you believe that one letter couldn’t possible cause you to receive a rejection, I encourage you to think again, especially if the same mistake recurs throughout your manuscript.

Incorrect usage comes from the lax attitude about our English language. Most people speak in jargon or a brogue that comes from a certain locale. I also call it family hand-me-down language. Truth is, no matter from where you hail, your written grammar must be correct for a broader audience.

I’m speaking of the letter “s.” Check out these sentences:

She ran towards the garage.

The ball rolled backwards.

Look upwards.

These sentences are all incorrect. That is, the use of the letter s is incorrect.

The letter s denotes something plural. In the first sentence, if you move toward something, you can only go in one direction. Toward.

If the ball rolled backward, it can only go in one direction. Backward.

If you look upward, you can only look in one direction. Upward.

Strangely, an example of an exception is:

She leaned sideways.

The rule here is that when leaning, you can lean sideways in more than one direction, therefore the use of the s.

You’ll find many other words that are incorrectly used with s endings. When you find these, make note of them, maybe a running list. You’ll have the list to refer back to when you question your own writing.

This is but one of the finite idiosyncrasies of producing better grammar when writing stories and books that you hope to sell. Study your own language and speech. Watch how the s is used or omitted in books that you love to read. Get into the habit of listening to the speech patterns of others. Be critical of what you hear, but never critical of a person who speaks that way. Instead, mentally analyze what you have heard. Learn the right from the wrong of speech and your writing will reflect your knowledge.

Please visit Mary Deal’s website for more wonderful articles like this one: Write Any Genre. Read More

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Dec 15

“Sentence Structure” does not mean “20 to Life,” but it does mean …

Sentence Structure

We’re all told that when we write to simply let the words flow uncensored. Never mind punctuation and sentence structure, just get the words and ideas out. This method works for me and many other people. Still others plan out their sentences in their minds before writing or they edit each sentence written before going on to the next. With any way you choose to write, you will find yourself editing your sentences to make them grammatically correct and to fit the pace of your story.

In order to write the correct sentence for the “moment” of that part of the story, a writer must understand the differences between simple, compound and complex sentences. When I talk about a particular “moment” in a story, a writer needs to know how to use those sentences to pick up the pace of the action or slow it down. Sentences can make a reader breathless and keep turning pages, or they can cause the reader to read more slowly in order to understand a more difficult passage.

Simple Sentences

These are also known as independent clauses and are short and to the point. When we first learned to read, we read sentences that, to an adult, seemed more like bits and pieces. “Jack ran away.” “The ball rolled away.”

As we advanced in our reading skills, sentences became longer, though probably remained simple: “See where the ball rolled into the pasture.”

Simple sentences need to be paced, that is, interspersed among compound and complex sentences. Simple sentences can have a staccato effect between absorbing the action and meaning of a story.

A simple sentence contains a subject and a verb. Simply, a person or thing and the action they perform. Use simple sentences to quicken the action. However, too many short sentences, one after another, can make your story seem juvenile.

Compound Sentences

Compound sentences contain two independent clauses which are joined by:

for – a preposition
and, but, or – conjunctions
so, yet – adverbs
nor – a conjunction and an adverb

A comma always precedes the word that conjoins the two independent clauses making them a compound sentence.

An example:

~ I went to the store, and my friend went to the Post Office.

Complex Sentences

Where a compound sentence contains two independent clauses, a complex sentence has an independent clause joined by one or more dependent clauses. A dependent clause completes the action, but cannot stand alone as a whole and complete sentence.

A complex sentence always uses one of these words to join the two parts of the sentence: after, when, although, because, since, or the pronouns who, whom, which, that, they.

When a sentence begins with any of the words from the first group, a comma is inserted at the end of the dependent clause before the sentence finishes. Note this example:

~ After Rita helped me with the dishes, she and her boyfriend went out.

When one of the connecting pronouns is used, no comma is included. Example:

~ Rita and her boyfriend went out after they helped me with the dishes.

It is advisable to study the choice of words used to connect parts of a sentence. In some cases, the insertion of the wrong word can change what you imply with the sentence.

Short sentences can quicken the pace of the story for the reader. Longer sentences can slow down the pace and offer a lot more information. It is important that you have a balance of each as you write.

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Oct 06

“Talk the Talk” Sage Advice from Mary Deal

Talk the Talk

Is your dialogue authentic?

I write mysteries and watch some reality cop shows listening for police techniques and jargon. It’s a way of keeping stories in the now, exciting, up to date and understandable by readers. With an open mind and ear, you can learn how to make your characters act like the police or the perpetrator. You can learn search techniques or glitches in the schemes of wrong-doers. All of this knowledge enhances the reality of the stories you write, not just mysteries.

When writing dialogue for each character, it’s important that each person in the story have their own personality. When speaking, no two characters should sound alike. So it’s important to make a cop sound like a cop and a perpetrator like a perpetrator. It’s important t make these characters sound authentic in any story.

Especially, dialogue is critical in defining character personality. Here is a piece of dialogue I heard when watching Manhunter:

“Do you have an eyeball?”

The scene was a stakeout. Lenny DePaul, on one side of the building, was asking Roxanne Lopez at the corner of the building, if she had a clear view to the doorway where the perpetrator might appear. In another show, I heard “Do you have an eye?”

A book I recommend where you can find police jargon if you’re not into scrutinizing TV shows is Cop Speak: The Lingo of Law Enforcement and Crime, by Tom Philbin.

Here are some examples from the book that can easily be incorporated into dialogue:

Flashlight roll = A police technique of rolling a flashlight across a doorway of a dark room to illuminate the interior.

Make a canoe = Do an autopsy.

Catch a stack = To rob someone who turns out to have a lot of money.

Grounder = An easy case to prosecute; also known as a ground ball.

Mutt = Police term for a person with very poor character.

Hello phones – Telephones that informants use to reach their police contacts.

Still more of the terms and definitions in this book run from hilarious to dead serious. You can find any term explained and some mean far more than you think they do.

If you want your stories, especially mysteries to sound authentic, this book or other similar ones listing terminology and definitions will greatly enhance your writing and dialogue. Make them part of your instructional library.

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