Showing posts with label Private Eye. Show all posts
Showing posts with label Private Eye. Show all posts

Friday, October 4, 2013

Chapter One: FRISKY BUSINESS



Saturday November 12, 1:35 pm
 “Sorry I look like crap. I was just at the gym.”
The striking, copper-skinned, raven-haired girl of about twenty didn’t exactly look like crap, but she did look like gilded trash. She had high cheekbones, too much black eyeliner, and rings on almost every finger.  Her boobs strained the fabric of her tiny silver and black striped T-shirt. The stripes were horizontal, and she didn’t need any optical illusions to emphasize her physical endowments.  “Candace Curtis gave me your number, said you could help me.”
Candace Curtis is a former madame I met during the Hooker in Hiding case this past summer. She had suffered some collateral damage as the case morphed from missing person to murder.    
I had mixed feelings about, and very little understanding of, the sex industry when I first met her, but Candace and I had developed a friendship since then, and she has opened my eyes to the realities of the sex trade and the people who work in it.  As well, I had helped Candace reconnect with the son she had abandoned years ago. She felt indebted to me for that, but in my opinion she shouldn’t have. At the risk of sounding trite, the smile on her face when she and the boy were reunited was reward enough. Nonetheless, I happily cashed her irresponsibly generous cheque when it came in the mail. 
“Grab a seat,” I said to the girl, indicating the empty chair opposite my desk.
I glanced around my rather plain but functional office, with its bare walls and Ikea furniture, and wondered what impression it gave to the occasional clients who come in. According to their ads, Ikea is “Swedish for common sense.”  I wonder how you say “I’m a kick-ass sleuth” in Swedish? 
“My name is Raven Greywolf.”  She extended her hand, and I shook it. Her First Nations sounding name matched her physical appearance.
“What’s the issue?” I asked.
“My best friend was murdered a couple months ago.”
“Give me some details.”
As soon as she started talking, it occurred to me that I should have said something sympathetic about her loss. Occasionally, I’m an insensitive twit.  Note to self: Change that.
“Kitty Vixen. Her real name was Julie McPhee. She was beaten to death, and found in a construction site, in Regent Park, where they’re building a new condominium.”
“One of many,” I said.
“Yeah, the neighbourhood’s changing a lot.”
That was an understatement.  For many years, Regent Park was one of Toronto’s seediest downtown neighbourhoods, rife with crime, drugs, violence and desperation.  Remarkably short-sighted urban planning after the war had given rise to a cluster of social housing units and not much else.  No public areas had been factored in, no recreational places, or commercial spaces - the neighbourhood didn’t even have a grocery store - thus making it a foolproof recipe for a ghetto.
Just a few years ago, in one of those rare instances where they got it right the first time, City Hall had decided to gut it all and start from scratch.  The project was still several years from completion, but already the area was improving. The new social housing units were interspersed among stylish modern condominiums and shops, plus there was a park, a public pool and a cultural centre.  Amidst all of this, there were still several lots covered with bulldozers and cranes.  The wheels of progress grind along at their own leisurely pace, but the early indicators showed that it was worth the wait.
“Tell me more about your friend.”
“The police say Kitty died on Friday September ninth, late at night, so it could have technically been Saturday morning.  Her body wasn’t found until Monday morning when the construction crew showed up.”
“What would she have been doing near a construction site?” I asked.
“It’s a shortcut from the film studio where we both worked to our place.  Me and Kitty shared an apartment above a store on Gerrard Street, near Sackville.  I still live there, my new roommate’s Athena.”
“I remember reading about the murder in the newspaper.  The case remains unsolved.” 
 “I guess technically that’s true, since no one’s been charged, but I know who killed her,” Raven said.
“And that was...?”
“Somebody who has something to do with AAA-XXX films, one of the bosses there, I think.  Kitty was an actress for them, and I used to be.  I’m self employed now.”
“New line of work?” I asked.
Raven chewed on her fingernails for a minute before answering.    “Not really.  I’m a private escort.  Candace referred some of her old clientele to me.” 
Not my place to judge, so I didn’t comment on her rather lateral move.  At least, if the clients came from Candace, I knew they were probably a little less dirt-baggy than any old Joe off the street.  “Tell me more about the movie guys.”
“Everyone calls it Triple-A Triple-X. Antonio Agostino Antonelli is the president. His partner Frankie Lolatto is Chief Executive Asshole,” she said.
“I know a lot of people with that job title.  Keep going.”
“I think Kitty was causing too much trouble. Neither of us liked working there, but the money was good, just not good enough. Kitty was trying to get the guys to pay us more, treat us better, maybe give us benefits.”
Paid holidays and a pension plan for adult film stars?  Actually, that’s not a bad idea.
“I assume they didn’t want to?” I asked.
“Hell no.”
“What’s the going pay rate for a porn star these days?”
“A thousand bucks a day,” she said.
“That’s kind of a lot of money in a way, but then again, not really.”
Through my work for Candace, I’ve learned a lot about money and sex. I also know how much I earn in private investigation fees – it’s either feast or famine in my world.
Some of the high-ranking call-girls who had plied their trade at Candace’s cathouse could earn up to a thousand dollars or even more for a night’s work. So could a couple of the strippers I’ve met. But those are the exceptions.  For every upscale escort, there are dozens of desperately unfortunate girls working the street, earning as little as twenty bucks per transaction.  In any case, in those scenarios, unlike in the dirty picture biz, there is nothing, um, residual in their workday. When the guy leaves, or the lap dance ends, the interaction more or less ceases to exist... Except in memory and emotional scarring.
I couldn’t imagine thousands of people watching a video of me having sex. Or people watching it over and over again... and masturbating to it.  I shuddered at the thought. I wondered how and why the girl before me had entered the x-rated movie business, but it wasn’t appropriate to ask.  Yet.
“Do you get royalties from the movies or anything?”
“Are you kidding?”
“So, a grand for a day’s work. How many days a week did you work?”
“That depended on the studio.  Most flicks take about two days to film, maybe three. I usually did two or three films a month. Kitty did about the same.”
If she only worked about four to nine days a month, I wondered what she did with the rest of her time?
“So you made between four and nine thousand dollars a month? Not bad. I know a lot of people – families even – who live on much less than that. Not that I’m saying it’s good…”  
I wondered how much I’d have to be offered to make a porno flick?  It would have to be a one followed by a lot of zeroes.
“I’m saving every penny I can for school,” she said.  Now she started to bite the nails on her right hand.
“But if you were making upwards of four thousand bucks a month...?”
“I pay rent, and other bills, food...  It costs a lot to look like this.”  She gave me a self-conscious smile.  “And school’s going to cost an arm and a leg.  Next fall I’m planning to go to Parsons.”
“The design school in New York?” I asked.
“That’s the one.  I really, really want to study fashion, and Parsons is the best in the world.”
“So I’ve heard.  That’ll be very expensive.”
“That’s why I did the movies, and why I’m doing escort jobs now.  I’d never make this kind of money working at McDonald’s or The GAP.” 
I had to agree with her point about the pathetically low wages in retail and service jobs.  I remember earning next to nothing at part time jobs when I was in my teens.  I worked at an ice cream parlour during the summer I was fifteen.  I was paid just five-fifty an hour, plus a free cone on my break.  The biggest problem I had working there was which flavour to have on my break.  That, plus an oily manager who kept hitting on me, until one day when I finally kneed him in the nuts, and walked out.
Raven continued, “Tuition’s well over twenty-thousand, and don’t even ask what it will cost to live in Manhattan.”
“I see.  All right, so, Kitty wanted to get paid more, and you were all in favour of that,” I said.
“Why wouldn’t I be?  But you see, adult film pay is standard for the industry, at least in Canada.”
“So just how much more did Kitty want to be paid?”
“She never said exactly. Well, it’s not like she wanted a fixed amount. You see, we get paid a daily rate, no matter how many guys do us. If you think about it compared to the way a call girl does things, it’s not fair. I’m working as an escort now, and I get paid for each guy I have sex with, but in film work, ’cuz it’s a flat rate, you get the same pay whether it’s one guy or lots.”
I didn’t like what I was hearing. 
“If I investigate this, I have to keep an open mind.”  Which could prove hard for me to do, given my feelings about women being exploited.  “There could be other motives, besides money.  Secrets.  Other suspects.   What about ex-boyfriends, enemies, jealous lovers?  What about drugs?” I asked, looking Raven square in the eye. 
“We both liked to smoke a little green after a day of filming.  It’s the only way to forget about work, but nothing major.”
I admit there are days when clients and contacts and witnesses can practically drive me to drink, but I don’t have to get into an altered state to do my job.  That’s probably a good thing: I’m dangerous enough - to myself and others - when I’m stone cold sober.
“Honest?”
“Before I met her, Kitty did just about every drug she could get her hands on; she was totally hardcore for a couple years.  But she steered clear of chemicals ever since I knew her; said it would be too easy to fall back down the rabbit hole.”
“And you?”
“Like I said, we’d both have a few tokes, and Kitty sure liked her rum and Cokes.  But I steer clear of booze; it hasn’t been kind to my people.”
“That’s one way to put it.”
“Besides, I’d rather save my money for Parsons,” she said, with the smooth degree of confidence usually associated with a fait accompli.
“Right.  So, what about Kitty’s friends and lovers? Exes?  Enemies?”
“She was going out with a guy named Corey for a coupla months, but they broke up near the end of the summer.”
“Where can I find him?””
“He sells bikes at Thunder Motorcycles.”
“Anyone else?” I asked.
“Before that, there was a guy named Sam that she dated for a little while, back in the winter.”
“What happened with him?”
“He was pretty heavy into drugs, and like I said, Kitty...”
“Okay, so that didn’t work out.”
 “Having a boyfriend wasn’t really a priority for her anyways.  She couldn’t be bothered, really.  Kitty said that after making movies all the time, she’d had enough of sex.”
What a shame that something so beautiful and fun under the right conditions had morphed into something so unpleasant in Kitty’s world.   
“Hmm.   What about male co-stars?”
“Kitty made a lot of movies with Dixon and Clint.  Movies starring her and Clint were especially popular.” 
“Hmm... What about her family?” I asked.
Raven was back to biting the fingernails of her left hand.  “She had virtually nothing to do with her parents, and didn’t have any brothers or sisters as far as I knew.”
The lack of a familial support system and the estrangement from her parents offered a sliver of an explanation of the how’s and why’s of Kitty’s career path.  Even though I’d never met her, and even though Raven and I had only beet talking for a while, I had already begun to get a sense of Kitty’s tragic life.
“What about friends and enemies?”
“Let’s see... I met Kitty about a year and a half ago, when she started at Triple A.  We became good friends almost immediately, and roommates not long after that.”
“How did that come about?” I asked.
“I was renting a big two bedroom apartment by myself, and decided it would help me save money for school if I rented out the other bedroom.  I used to use it as a sewing room.”
“That makes sense.  Okay, so you and Kitty were friends and roomies and co-workers, but who else was in her life?”
“No one, really, other than a couple of the girls we worked with, like Crystal and Trinity, but they don’t work there anymore either.  The three of us quit at roughly the same time, around the end of September, not long after Kitty was killed.”
“Where’s everyone now?” I asked.
“Trinity works the escort business like I do, but she wants to get out of sex work; says she wants to write a book about working in the x-rated film biz. Crystal is stripping at a bar out near the airport.  Crystal’s been a little off the rails lately, so I’m not sure how much help she’ll be.”  
“What do you mean?”
“Slipping back into her old habits, drinking a lot.  And I mean a lot.”
“I see.  Hmm.  I should have asked you this earlier, but what about the police?” I asked.
“They’ve gotten nowhere, and I don’t even think they’re trying anyways. To them, she’s basically just a dead fuck toy. But Kitty was the best friend I’ve ever had.”
“No one’s just a dead fuck toy.  Or at least, no one should be,” I said. 
As much as it pisses me off, the reality is that some murders get more attention than others when it comes to police budgets and public outrage.   A porno star with a history of drug use would not be a high priority.
“That’s why I came to you.”
I smiled at her.  “Hmm.  So, why was Kitty your best friend?”
“Kitty was just cool, you know?  You could say anything to her and you’d know that she’d get it.  She was really sussed out, you know, really smart, and I dunno... just nice.  A decent person.”  I nodded but didn’t say anything.  She bit her nail and continued, “A lot of the people in this biz are messed up, strung out, and most of them only look out for themselves.  Kitty wasn’t like that.” 
“Uh huh...”
“I had pneumonia last winter.  Ended up missing a lot of work, and since I didn’t do the flicks, I didn’t get paid.  Kitty covered my half of the rent that month, and wouldn’t let me pay her back.  Said it was bullshit that we didn’t have sick leave.  And plus you know, she did all those kinds of things you do when someone’s sick, like bringing me soup and going to the drug store to get Neo Citron and stuff for me.  Sat up with me all night when I had a fever.”
“Sounds like she was a good person.”
“Good, yeah, and she could be wickedly funny too.”
“Okay. I’ll give this a try.” I said.
“What are your rates?” she asked.
“Depends on the case, but for something like this, it’s usually five hundred a day.”
“I’ve got two thousand bucks on me now. Can you start with that, and I’ll give you more next week?” She handed me a wad of twenties, fifties, and a few hundred-dollar bills.
“Deal.” I tucked the money into the front pocket of my jeans.  Nice bulge.
“The money isn’t just from me. Crystal and Trinity kicked in five hundred each.”
“I’d like to talk to them,” I said.
“Sure.”  She wrote down their numbers for me.
“Since it’s the weekend, I won’t be able to get started on this until Monday, okay?”
Actually, the world of detection operates twenty-four-seven, so I could theoretically dig in anytime.  However, there were big plans on the horizon for this evening: I had a hot date planned and a gig lined up.
 “No worries. Kitty’s been dead two months already. She’s not going to get any deader.”
 

Monday, May 6, 2013

Interview with mystery novelist Liz Bugg, author of Yellow Vengeance



For the folks who haven’t met her yet, give us a brief description of Calli Barnow, and since the bio on your website mentions that your birthday falls on the cusp of Sagittarius and Capricorn, you’ve got to tell us Calli’s sign too!  How much of you is in Calli?


Calli Barnow is a middle-aged, private investigator who lives and works from her office in the
Kensington Market area of Toronto. Due to her homophobic father, she left home while still a teenager, thus relinquishing the silver spoon with which she was born for the school of hard knocks.  Because of that, Calli has developed psychological scars and personality quirks she might not otherwise have possessed.  Although she does have close friends and a steady love relationship, her emotional challenges still often get in the way of not only her personal life, but also her professional endeavours. Nevertheless, Calli is not a dark character; in fact, she often sees the world in a rather humorous light.


Regarding astrological signs, Calli would be an early Sagittarian. (By the way, although such things can be fun, I take them with a grain of salt.) She’s independent, doesn’t like to be tied down, and she can come across as rather unemotional.  


I’m often asked if Calli is based on me. No. She is a fictitious character, and almost every aspect of our lives, both past and present, are different.  We do, however, share the same attitudes toward many things. 


The Calli Barnow mysteries are all set in Toronto.  With all else remaining unchanged (plot, characters, themes, suspects, red-herrings and so on...) do you think you could have or would have been able to write this series if it were set in, let’s say, your hometown of Regina, SASK?  Or would Calli have ended up being a different character all together?  In other words, how much influence does setting have on the story and to what extent does setting impact the character?


Setting has a tremendous effect on the story. The size and multicultural nature of Toronto make it ideal for providing textured and changing backdrops for both individual scenes and ongoing story lines. I consciously use locations to create mood and atmosphere, as well as to provide interesting venues for crimes. My books would be very different, if they were set somewhere else.


Toronto has also had a considerable effect on the character of Calli. As a young lesbian who was trying to make a life for herself, she was able to find community support that might not have been as readily available in a place with a smaller population. The size of the city also gives her a certain amount of anonymity, which is sometimes necessary in order for her to perform investigations. On the most basic level, Calli is a big city Ontarian. She is the product of Toronto, and it’s where she belongs.


Interestingly, your bio mentions that it really wasn’t until somewhat later in life that you began reading mysteries, and yet here you are a thrice published mystery novelist!  Do you think that your writing is influenced much – if at all – by all the non-mystery books you’ve read?


Absolutely. Two of my favourite writers are Virginia Woolf and Thomas Hardy. I have always admired Woolf’s stream of consciousness techniques and Hardy’s ability to create a cinematographic feel through his narrative. The most profound influence on my writing, however, is my background in theatre. Having studied dramatic literature extensively, and having trained and worked as an actor, my writing is character-driven to the core.


What is the one thing that a writer in any genre can do to turn you off as a reader?  Are there any books you’ve begun reading but never finished?  


Yes, there are some books I have begun reading, but never finished. I’m not, however, going to name them. In general terms there are a few things that will turn me off reading a book. Perhaps the most important and the most quickly recognizable aspect would be poor or simplistic use of language. I also need to feel that there is an underlying truth within the characters and story line. I appreciate humour, but I’m not big on things that are trivial. I’m also a happier reader if there is at least one character who really grabs me in some way. I recently read an acclaimed novel in which all the main characters were unlikeable. Although that was appropriate and in fact necessary for the plot, I found it did not satisfy what I look for as a reader. Sorry, I seem to have more than one turn off point.


How do you come up with bad guys?  How do you create a killer?  Is it ever difficult to write about nasty characters with vicious tendencies?  How do you balance the writing of a bad guy and keeping readers with you?


My bad guys appear as the story evolves. I never plan them ahead of time. In fact, I plan very little
ahead of time. In creating a killer, I look at the motivation to kill that is presented from the circumstances in the story, and I tie that to the psychological aspects of the character that would enable him/her to do the deed. I personally find it easier to write a nasty character than a pleasant one. I do, however, research the psychology behind all my villains. I don’t believe in generic bad guys. I think that’s the key to keeping the readers with you. The characters who commit the crimes need to be as real, as individual and as complex as your main characters. You should be able to believe that the bad guy could be your neighbour, at least until the layers of civility start to be stripped away. One of the most important things I learned as an actor was the necessity for one character (and/or reader) to constantly be discovering something new about another character, even if it’s an old friend. That element of surprise will keep the relationship alive and it will keep the audience/reader engaged. This applies to the bad guys too.


Once upon a time, the mystery genre was dominated by male writers whose protagonists were all white tough guys.  In the last 25 to 30 years or so, the mystery genre has opened its arms quite widely to protagonists from all sorts of backgrounds and from various walks of life, which is a great thing!  How is this trend reflected in your novels?


Yes, mystery novels are certainly not as narrowly-defined, or as predictable as they once were. Had things not moved past white tough guy protagonists, I would never have attempted to write a mystery. My protagonist embodies some aspects of the diversity that is now being seen in the genre. I made my main character a white female. That’s not a big leap, but I chose not to appropriate voice in this instance.  Calli is a lesbian. That’s a little less mainstream, but once again, I know what I’m talking about. Calli does not have a background in law enforcement, but rather a varied list of past jobs, including construction worker.  She often finds her cases a huge challenge, and she sometimes makes mistakes. In other words, she isn’t what you might expect from a private investigator. In fact, she often falls into the category of reluctant hero.


Since a writer can only go so far with a protagonist, I consciously try to address the issue of diversity through other characters, both ongoing and within individual novels. Calli’s sidekick is a Jamaican-Canadian drag queen. Calli’s love interest is Asian. One of the characters in Oranges and Lemons is in a wheelchair, and in Yellow Vengeance many of the characters, including the woman who hires Calli, are South Asian. As I said earlier, Toronto is an ideal setting for this kind of mosaic. In striving for an accurate cross section, I also make an effort to include characters from a wide range of socio-economic situations. I hope that the end result is an interesting and unpredictable slice of life.


You’ve done a lot of book events and you’re also quite active in social media.  What is one of the strangest or funniest interactions you’ve had with a reader (whether in person or online)?


I actually don’t have any strange or funny interactions to relate. That pleasure is yet to come. I have met some wonderful people, both in person and through social media, and it’s those people who keep me writing.


What is the worst bit of writing advice you’ve ever heard?  What is the best piece?  


I need to preface my first statement by explaining that this probably doesn’t apply to everyone. The worst piece of writing advice I’ve heard is that you have to be disciplined and write every day. That doesn’t work for me.  The best piece of advice is that everything you write, including fiction, should be true - not factual, but authentic.  It must contain some element of a basic, human truth. This can be achieved by being specific. Only then will your writing near the ultimate goal of being universal.


I know book three, Yellow Vengeance, has just come out of the oven, so to speak, but what can you tell us about your current work in progress?  I assume there’s another Calli Barnow caper on the way?


I’m taking a bit of a break from writing fiction. Although I have a vague idea about how the next
Calli Barnow novel would begin, I have no definite plans at the moment for when I would write it. I may try a standalone book next, and I’m not sure if it would be a mystery or not. I’ve also started work on the life story of visual artist, Joelle Circe, and I’m ten thousand words into a creative non-fiction book based on the life of my grandmother. What I need right now is time to recharge my batteries, and decide what direction I want to take my writing life.


Clues, clues, clues!  For a mystery novelist, playing fair with the reader is tricky business!  How do you pepper in enough clues to give the reader a chance, without making it obvious, but not so few that it becomes unfair?  


I don’t have any sort of a formula for handling this issue. It is at the back of my mind, as I’m writing, but as with the story line, I tend to let the clues present themselves to me. Sometimes a thought will appear, and I’ll say to myself, “Yes, that’s a decent clue to include.” At other times, I will become aware as I’m revising that I need a hint here or there, and then I’ll figure out what and how to work them in.


Let’s have some fun with quotations about mystery fiction!  Take a look at the lines below.  Do you think crime fiction in particular and genre fiction in general are yet taken as serious literature?  Will they ever be taken as serious literature?  And does that even matter? 


"Detective stories have nothing to do with works of art."  -W.H. Auden
             
"I've been as bad an influence on American literature as anyone I can think of."  -Dashiell   Hammett
 
"[Dashiell Hammett’s] The Glass Key is better than anything Hemingway ever wrote."  -Rex Stout    


Those are great quotes, and certainly food for thought.  Varying opinions on the subject abound.  There will always be literary elitists who turn up their noses at genre fiction in general and crime/mystery/detective fiction in particular. I don’t fall into that camp (obviously). Sure, there’s no shortage of mediocre and even bad genre fiction out there, perhaps due in part to the formulaic nature of the beast. P.D. James says, “One of the criticisms of the detective story is that this imposed pattern is mere formula writing, that it binds the novelist in a straitjacket which is inimical to the artistic freedom which is essential to creativity, and that subtlety of characterisation, a setting which comes alive for the reader and even credibility are sacrificed to the dominance of structure and plot.” She also goes on to say that she is always amazed at how good writers manage to go beyond the restrictions. I agree with her. I think that nowadays, more than ever, writers are not afraid to play with form and structure in genre fiction, even to the extent of sublimating traditional aspects of it in order to more fully develop things like character or relationships.  I know that when I’m writing, I make conscious decisions about what parts of “the formula” I will use, and when I will totally go against convention to achieve my goals. In the scheme of things, I don’t know that it really matters if genre fiction is ever taken seriously, but I do think it’s moving in that direction. That having been said, I would be delighted if my novels were considered in a serious, literary light.


The last question is a bit of a freebie.  What is the one question you wish I had asked you but didn’t?  Now go ahead and ask and answer that question.


How do you decide what to write about, when you begin a new novel? Where does the plot come from?


As I said previously, I plan very little in advance. It would be nice to have the security of a detailed outline, but that doesn’t work for me. My plots evolve bit by bit, as Calli goes through her days, meeting a client, pursuing leads and so on. What I usually do have in my head either before I begin writing, or shortly thereafter, is a social issue I want to investigate. Red Rover looks at parental homophobia, Oranges and Lemons centres around Internet gambling, and Yellow Vengeance examines international adoption. Once I have my core issue, everything else seems to fall into place. Underpinning the issues and the mysteries is the ongoing saga of Calli’s personal life. It is woven both structurally and thematically through the other elements in the novels.

Follow Liz on Twitter @MysteryBugg 
Check out her books on AMAZON  
Have a look at Liz's website HERE