Dark and, at times, amusing fiction from award-winning author Dave Zeltserman

Friday, May 16, 2014

Vampires in a noir world



What do you get when you drop vampires into a noir universe? How about a wild ride filled with doomed lovers, stone cold sociopaths, heroin-snorting hedonistic vampires, a hardboiled PI, a secret lab conducting experiments that would sicken Josef Mengele, blood-splattering ultra violence and  drug dealing biker gangs. How about we just call it BLOOD CRIMES.

The vampires in BLOOD CRIMES aren’t supernatural creatures, but instead damaged and severely flawed individuals suffering from a virus that emulates vampire-like powers. At the center of BLOOD CRIMES are doomed lovers, Jim and Carol. Jim’s infected with the vampire virus, Carol isn’t. Jim needs to kill to eat, and he and Carol travel the country finding the most dangerous predatory scum for Jim to feed on. In order to assuage his guilt over killing his victims, Jim further needs to catch these predators in the act of harming Carol so he can rescue her before killing and feeding on them. Carol has her own serious emotional and psychological baggage and she needs this every bit as much as Jim does. Hot on their trail is PI Donald Hayes. Hayes is smart, capable, honest; someone that Lew Archer would’ve probably enjoyed having a few beers with. Hayes has been hired to track Jim down and is beginning to suspect that Jim is a serial killer leaving dangerous bad guys dead in his wake. Hayes’s client is Serena—a beautiful and deadly femme fatale vampire who leads a clan of hedonistic vampires in Manhattan, and is not at all happy that Jim escaped from her compound (hell hath no fury like a woman scorned?? try Serena!). In the shadows of all this is Metcalf, my most sociopathic creation to date. In some ways Metcalf could almost be a twin of Victor Petrenko from Outsourced, but ultimately he’s scarier and more cold-blooded. This cast of characters end up colliding with a vicious drug biker gang in Cleveland for my most violent and highest octane book climax.

This short excerpt shows Jim’s indoctrination into Serena's world after being infected with the vampire virus:


The fever broke. Consciousness seeped in and he became aware of where he was and what was happening to him. God, he hurt. Especially his throat. Fuck, he was hungry.
A familiar woman’s voice, soft and amused, commented, “The butterfly has broken free from its cocoon.”
Blinking, he craned his neck. Serena sat naked on a chaise lounge pleasuring herself. He realized he was naked also, and even in his pain, felt himself growing hard.
She got off the chaise lounge. She noticed his erection and smiled thinly at him.
“The dead has risen from the ashes, I see,” she said in that same sing-song melodic voice he had heard in the club.
He tried to tell her how much his throat hurt, but he couldn’t get anything out other than a rasping sound. She shushed him.
“I know, my pet. You’re so thirsty and your throat hurts so much. Let me take care of everything.”
There was a baby’s bottle sitting on a table nearby filled with a thick congealing red fluid. She brought it to him and placed the nipple in his open mouth. He wanted to be repulsed at the thought of what she was offering, but he drank from that bottle as if his life depended on it. When he was done, he felt better, his throat less raw.
“That was blood,” he croaked out in a low whisper.
“Yes, my pet. How very observant of you.”
“What type?”
“What type do you think?”
At some level he wanted to gag, but at a deeper more fundamental level, all he wanted was to drink more blood. His wrists and ankles were still manacled. As he lay helpless, she crawled on him so that her pubic area pressed against his mouth, then started to fellate him.
He tried not to breathe in that sickly-sweet scent of hers.
He tried hard not to taste her.
Fuck, he wanted to throw her off him.
More than anything, though, he didn’t want her to stop.
He closed his eyes and tried to imagine that it was a different woman than Serena on him. He tried to think of his old high school girlfriend, and that he was someplace else entirely. It didn’t work. All he could think about was Serena and that night in the SoHo nightclub. About her biting him and the intense sickness that came afterwards. He knew he had changed. He could feel the difference in his body. He had seen on waking that he had become leaner and more narrow. He could feel that his head had changed shape. In his mind’s eye he could picture what he now looked like. At some level he knew what he had turned into. The word vampire kept bumping through his brain. He didn’t want to think about it. He tried not to think about it… He tried not to want Serena as much as he did…
Christ, he was hungry. Without even realizing it he had bit the inside of her thigh. It took a lot of effort to break the skin, and he just kept biting down harder, and it made her squirm and suck harder on him. Finally he broke the skin. He licked up the drops of blood that formed from her wound. A violent intense spasm wracked his body. For a long moment he couldn’t breathe. His body became so tense he couldn’t move. Then he started gagging.
Serena had rolled off him.
“If it was only that easy,” she said, sighing. “We can’t feed off of infected blood, my pet.”
She waited until he stopped gagging. Then caressing his cheek, asked, “Are you feeling better now?”
Jim nodded, his face contorted into a tight grimace.
“Good. You can bite me all you want. I like it. But if I bleed, don’t lick my blood. It’s not good for you.”
It didn’t take much effort on her part to bring back his erection. And then she was back to what she’d been doing, although with more excitement. Right before he was about to climax, he could feel the violence of her being ripped away from him. He opened his eyes and saw that Metcalf had a grip of her long black hair and was pulling her off the table.
“You son of a bitch!” she swore at him as she tried to pull free. Metcalf let her fall to the floor.
“Me?” Metcalf asked, grinning, although his eyes were as dull as sand. “For Chrissakes, Serena, can’t you even show an ounce of self control? You know full well we have an indoctrination protocol.”
“Asshole,” she spat.
She rubbed her head gingerly before grabbing a robe lying nearby and covering herself.
Metcalf’s eyelids lowered as he turned to her. She noticed it and moved over to the chaise lounge. Avoiding his stare, she told him to get on with his indoctrination.
“Thank you.”
She didn’t bother to respond, instead curled her fingers on her right hand and studied her nails. Metcalf turned his attention to Jim. He sat down on the edge of the table Jim had been manacled to, and pulled a stiletto knife from his belt. He let Jim get a long look at it.
“This is an incredibly sharp knife,” Metcalf said, admiring it. “You’d be amazed at how sharp this really is and what it could cut.”
Even though he knew what the answer was going to be, Jim couldn’t help himself from asking Metcalf what he was going to do with the knife.
“Only a demonstration,” Metcalf said. He looked bored as he ran his thumb along the edge of the blade. “If my skin were like any normal person’s my thumb would’ve been sliced open to the bone. But it’s not. And you’ve probably noticed you’ve changed also, am I correct?”
Without waiting for a response, Metcalf spun around and plunged the blade into Jim’s chest, and kept pushing downwards until the knife was buried. Jim stared dumbly at it. A low creaking noise escaped from him, then his body jerked into spasms. His back arched as if ten thousand volts were being shot through him.
“Right through the heart,” Metcalf said. “Hurts like hell doesn’t it? If you were normal you’d be dead now. But you’re not. And if you want the pain to stop, you’ll figure it out.”
Jim strained frantically against his chains. One of them snapped, and with his hand free, he pulled the knife out of his body.
“You fucking asshole,” he forced through clenched teeth.
Metcalf got a laugh out of that. “Only proving a point, guy,” he said. “My demo takes a hell of a lot less time than trying to convince you about the changes.”
Serena rolled her eyes. “My dear, Metcalf, I think you do this little demonstration of yours because you’re a sadist. No other reason.”
Any amusement Metcalf had been showing dried up quickly. He glanced impatiently at Jim and ordered him to break himself free of his other chains.
“You’ve got ten seconds to get off that table before I repeat my demonstration.”
Jim snapped the chain restraining his other wrist, then broke the chains attached to his ankles. He pushed himself off the table by the time Metcalf had counted to nine, and stood wobbly for a moment before regaining his balance.
“Why aren’t I dead?” he asked. The searing pain that had been slicing through his chest was now more of a dull ache. He found himself able to talk more normally again. “You stabbed me through the heart. What the fuck have I turned into?”
“What do you think?”
Half under his breath, Jim muttered the V word.
That brought a grim smile from Metcalf. “For your information, that’s a dirty word around here, but no, not in the classic supernatural sense. Thanks to Serena, though, you have been infected with a virus that mimics some of those legends.” He glared at Serena, his mouth shrinking to a small slit. Serena appeared not to notice. She had picked up a file and was nonchalantly sharpening her blood-red painted nails. Metcalf’s eyes dulled as he turned back to Jim. “That’s it for questions. Put some clothes on and follow me so we can finish your indoctrination. I don’t have all fucking day.”
The knife wound had already scabbed over. Only a scar the size of a quarter had been left behind. A pair of khaki draw-string pants and a matching color tee shirt were folded next to the table. Jim slipped them both on. They were several sizes smaller than his normal size, and they hung loosely on him. Metcalf waited impatiently. Serena looked up from her nails to eye the way he looked in the clothes, and licked her lips.
“Where the fuck am I?” Jim asked.
“The place you’re going to spend the rest of your life. Just shut up and follow me.”
The windows in the room had been painted black, as they were in the hallway Metcalf led Jim through. From the layout, the art deco decorations and the antique elevator that they stepped into, Jim’s thought was that this was a converted turn-of-the-century hotel. He had to guess they were still in Manhattan. With the windows darkened and only artificial light filtering through the hallway and rooms, he had no sense of time. It could be midnight or noon for all he knew. He couldn’t shake this image in his head that they were in a large coffin.
Metcalf had them get out at the basement level, and before too long they were stepping into hell. Emaciated men and women sat in cages, each looking withdrawn and defeated. The scene could’ve been snapshots from a Nazi concentration camp. Jim felt a sickening horror as he looked from face to face. None of the captives were able to meet his eyes. Metcalf casually explained that these were the cattle pens.
“What the fuck do you mean by that?”
Metcalf raised an eyebrow at his tone. “I’m giving you this one warning,” he said. “In a few minutes I’ll be making it clear to you what will happen if you raise your voice to me again.” He waved a hand toward the cages. “And before you act all high and mighty, didn’t you think about where the blood came from that Serena fed you earlier?”
Jim shook his head.
“Bullshit.”
“No. There’s no way I could’ve imagined something like this.”
“What did you expect then? That we turn on our faucets and blood pours out instead of tap water? Sorry, guy, it doesn’t work that way. But I’ll tell you what. If you’re so offended by this, you don’t have to drink the blood we milk for you. You can starve if you want—”
“I don’t get it. Why human blood?”
Metcalf smiled cruelly. “You want to try eating something else, you name it, sport. Steak, pizza, chocolate, anything you want, and I’ll get it for you. We’ll see how well you do with it. But all that’s besides the point. This isn’t why I brought you down here.”
Metcalf continued to the opposite end of the room where he unlocked a door and beckoned Jim to join him, a grim smile showing as Jim approached.
“This is my private lab. If you’re smart this will be the only time you get a chance to see it.”
Metcalf turned on the overhead lights. The inside of the lab was a chamber of horrors. What at first looked like grotesque armless mannequins cut off at the waist turned out to be living beings. Some were chained to the walls, others had spikes driven through their shoulder pinning them to tables. A few were sliced open as if they were in the midst of being dissected, but even these were still alive. They all seemed to be in agony.
“I use this lab to study the limits of our infection,” Metcalf said, his lips pursed with amusement as he observed Jim’s reaction to the room and its inhabitants. “It serves other purposes as you can probably guess. There’s one thing in particular here that I’d like to show you.”
He brought Jim to an empty area at a lab table between two of the dissection experiments. Jim caught the eye of one of the partially dissected vampires. It mewled softly to him before looking away.
“Any idea what this is for?” Metcalf asked.
Jim couldn’t keep himself from nodding.
“Yeah? Let’s hear it.”
Jim started to answer him, closed his mouth.
“Superstitious, huh?” Metcalf asked. “You’re afraid to say it? Okay, I’ll say it for you. This spot’s reserved for the next resident here who pisses me off.”
“It looked to me like Serena was doing a good job of that.”
A glaze fell over Metcalf’s eyes. “She has her privileges, but you sure as fuck don’t. If I were you I’d watch my mouth. Understand?”
Something about the way Metcalf was staring at him told Jim he was seconds away from being made one of his experiments. As shaky as he was feeling he knew he’d have no chance against this vampire. Maybe if he was feeling stronger and had a knife, he’d have a shot, but not now.
“Yeah,” Jim said, his eyes shifting downwards and away from Metcalf.
“So what did you learn here?”
 “Don’t piss you off.”




Saturday, April 26, 2014

ThE HUNTED -- on sale for $0.99 through May 2nd

Since THE HUNTED and THE DAME have been rolled into the first part of the full-length novel, THE INTERLOPER, I'm gong to be retiring both of these novellas (The Dame is already in the big bit bucket in the sky), but to allow readers to sample the first part of THE INTERLOPER for $0.99, I've put THE HUNTED on sale until May 2nd, at which time it will be retired also.



Wednesday, April 23, 2014

THE INTERLOPER now available -- paperback and ebook!

THE INTERLOPER is now available as a paperback and kindle ebook! THE INTERLOPER is made up of three parts: The Hunted & The Dame (both previously published as separate novellas), and the adrenaline-pumping third part, The Interloper.  All together the book is 332 pages of government conspiracy mixed with ultra hard-boiled crime fiction.

Since The Hunted and The Dame are rolled into THE INTERLOPER, I'll be retiring both of these as of May 3rd (although not as violently as Dan Willis 'retires' certain folks), but to allow new readers to sample this, I'll be putting THE HUNTED (part one of THE INTERLOPER) on sale for $0.99 from April 25th through May 2nd. 

Friday, April 18, 2014

Now an audiobook: Julius Katz and Archie

Julius Katz and Archie is now available as an audiobook from Amazon, Audible and iTunes. Any fan of the Julius Katz mystery stories should have a lot of fun listening to this!


Tuesday, March 25, 2014

Julius's latest case

Julius Katz and Archie's latest case can be found in the upcoming June issue of Ellery Queen Mystery Magazine.

Saturday, March 8, 2014

2013 Ellery Queen's Readers Choice Awards


From the May issue of Ellery Queen

1st place -- Archie Solves the Case by Dave Zeltserman
2nd place - Borrowed Time by Doug Allyn
3rd place -- The Wickedest Town in the West by Marilyn Todd
4th place -- Sob Sisters by Kris Nelscott
5th place -- Jack and the Devil by David Dean
6th place -- Cemetery Man by Bill Pronzini
7th place --The Care and Feeding of Houseplants by Art Taylor
8th place -- In a Dark Manner by David Dean
9th place -- Darkness in the City of Light by Hilary Davidson
10th place - Ghost Writer by Val McDermid

Tuesday, March 4, 2014

On Writing Noir

ON WRITING NOIR

I was a member of a noir fiction discussion group for years where every six months or so we’d debate what constitutes noir fiction. If you search on the Internet for definitions of noir you’ll find at least a dozen contrasting ones. So I need to first define noir, at least my view of it, before I can talk about how to write it. The best definition that I’ve come across (that best fits my own view of noir) comes from Otto Penzler, which was originally published in his THE BEST AMERICAN NOIR OF THE CENTURY:

"Noir is about losers. The characters in these existential, nihilistic tales are doomed. They may not die, but they probably should, as the life that awaits them is certain to be so ugly, so lost and lonely, that they'd be better off just curling up and getting it over with. And, let's face it, they deserve it.

"Pretty much everyone in a noir story (or film) is driven by greed, lust, jealousy or alienation, a path that inevitably sucks them into a downward spiral from which they cannot escape. They couldn't find the exit from their personal highway to hell if flashing neon lights pointed to a town named Hope. It is their own lack of morality that blindly drives them to ruin."

In noir, the hero is doomed, but he's doomed of his own making. Noir isn’t about tragedy, it’s not the fates conspiring against some poor luckless soul. Instead it’s about our hero sealing his own fate by crossing a line that can’t be uncrossed. And as with Penzler's definition, the doom isn't necessarily death; for example, it could be instead psychic disintegration, but however our hero is left at the end, he’s as good dead given what’s waiting for him. And noir cuts across classes. For some reason it has become in vogue among certain mystery writers to say noir “is a working class tragedy”. That’s wrong on both the tragedy level and the working class-level. There are many good examples of noir protagonists coming from the wealthy (HOW LIKE A GOD by Rex Stout, and many Cornell Woolrich novels), the more affluent middleclass (ANYONE’S MY NAME by Seymour Shubin, KILLER INSIDE ME by Jim Thompson),  middleclass (DOUBLE INDEMNITY by James M. Cain), criminal class (THE NAME OF THE GAME IS DEATH by Dan Marlowe), and every other possible class.

PSYCHO NOIR

Psycho noir in literature is fiction that fits the noir definition, but also has the additional property that the noir protagonist’s perceptions and rationalizations are just off center enough to send him to hell. Jim Thompson wrote psycho noir better than anyone, and some of his best include HELL OF A WOMAN, KILLER INSIDE ME, A SWELL-LOOKING BABE and POP. 1280. Most psycho noir novels use an unreliable narrator which I’ll talk about later.

NOIROTICA

Noir erotica or noirotica is another specific type of noir fiction which was pioneered by Top Suspense Group’s own Vicki Hendricks. Before Vicki’s groundbreaking 1995 novel, MIAMI PURITY, women in noir novels were mostly either femme fatales who lured the noir protagonist to his doom (or in some case, falling into the abyss with him), innocents who serve as a counterpoint to the femme fatales, or victims. MIAMI PURITY changed all that by having the noir protagonist as a woman. Lust and sex have played a role in many noir novels, but MIAMI PURITY raised the ante dramatically with its graphic sexual explicitness and showing more kinkiness than you’d find in any ten Dan Marlowe novels! And of course, the sex and lust is shown from a woman’s perspective. Vicki’s noir novels opened the door for other women noir writers, notably Megan Abbott and Christa Faust, but Vicki was the first, and in my mind, the best.

NEO-NOIR

If you write noir today, your books are going to be called neo-noir. So what is neo-noir? This is a term that came about to describe modern film noir; films that are more self-consciously noir and employ more modern themes. As far as noir literature goes, there’s no difference between noir and neo-noir other than you get to look cooler by calling your writing ‘neo-noir’.

WHY WRITE NOIR?

So now that we have our definition of noir, the question you need to ask yourself is why do you want to write noir given that many of the great noir writers like Jim Thompson, David Goodis, Gil Brewer and Dan Marlowe all died broke. Most readers out there do not want to read true noir. They might be willing to accept something that has a noirish feel, but they still want a happy ending, or at least an ending with hope, and there’s no hope in noir.  So knowing that there’s a limited readership for noir, that many mystery readers who stumble on your book are going to be appalled by it, and that you’re behind the eight ball before you even start looking for a publisher, why write noir?

I’ll give my answer by explaining why I love to read noir. The best noir can be a far more exhilarating experience than you can find reading almost any other kind of mystery or crime fiction, and the reason for this is it can expose truths about the human condition that other genre fiction barely hints at. There’s a resonance in the best noir fiction that’s almost impossible to find elsewhere in genre fiction.

FORMULA FOR PLOTTING A NOIR NOVEL


Here’s a simple formula you can use for plotting your next noir novel:

Have your noir protagonist cross a moral line where there’s no turning back from. This might be committing a murder, robbery, betrayal, cowardice or anything else that you can think of which will ultimately doom your noir hero.

Keep putting your hero in increasingly more dire situations that he is barely able to escape from, and repeat this until the tension becomes unbearable.

Give your noir hero a thin ray of hope of escaping his situation. The hope might be real or might be a mirage or might be only a feverish delusion on the part of your hero, but to him it’s very real.

Just as it looks like he might escape his doom, pull the rug out from under your noir hero’s feet and send him tumbling into the abyss.

The above formula describes most (if not all) of the noir books I’ve read. In some books, the noir hero has already crossed that moral line before the book ever starts. In others, he’s born broken and also has no hope from the beginning. But in one way or another, this formula tends to hold.

THE NOIR PROTAGONIST

So who is the noir protagonist? Are there any specific traits they have in common? The answer: our noir heroes can be anyone, and the only thing they have in common is that they’re doomed of their own making. Here are some examples of noir protagonists taken from classic noir novels.

A middle-class insurance salesman. An everyman, whose major character flaw is he thinks he’s smarter than he really is. This is  Walter Huff from James M. Cain’s DOUBLE INDEMNITY. What lures him to his doom is ostensibly lust and money, but it’s really the challenge of getting away with the crime and outsmarting those around him.

A deputy in a small Texas town, where his father was the town doctor. The deputy is highly intelligent and has an upper middleclass existence thanks to the inheritance from his dad. He suffered a traumatic sexual experience as a teenager due to his father’s overreaction to it, and that has created a sickness in him. This is Lou Ford from Jim Thompson’s A KILLER INSIDE ME, and he’s an example of a character who’s been broken before the novel begins.

A down-and-out door-to-door salesman who’s got a million excuses for why things have never worked, and why he’s been stuck with an endless series of tramps. This is Frank “Dolly” Dillon from Jim Thompson’s HELL OF A WOMAN, and what lures him is lust and money, but even more, a desperation to finally be a success. This is one of Thompson’s best psycho noir novels.

A bellboy who had been a college student set on medical school, but had to put his plans on hold due to his father losing his job as a college professor. This is Bill “Dusty” Rhodes from Jim Thompson’s A SWELL-LOOKING BABE. This is yet another psycho noir novel from Thompson where the Rhodes ended up broken somewhere as a child, and what ultimately does him in is an unnatural sexual obsession with his adopted mother.

A hardened and vicious bank robber who loves dogs and is out for vengeance. This is Chet Arnold (later Earl Drake) from Dan Marlowe’s THE NAME OF THE GAME IS DEATH

A well-to-do young man working as a stock broker and engaged to a beautiful young woman. This is Prescott Marshall from Cornell Woolrich’s FRIGHT.

A guy who owns a small TV shop. This is Jack Ruxton from Gil Brewer’s THE VENGEFUL VIRGIN. What lures Ruxton to his noir fate is lust and money, particularly money.

A young, college-educated writer for true crime magazines, and married to a beautiful, idealistic woman. This is Paul Weiler from Seymour Shubin’s ANYONE’S MY NAME. What lures Weiler is sex with a woman he doesn’t find particularly attractive, and what ultimately dooms him is his fear of exposure.

A used car salesman turned filmmaker. This is Richard Hudson from Charles Willeford’s THE WOMAN CHASER, and what sends Hudson tumbling into the abyss is a mixture of hubris and being unwilling to compromise on his artistic vision.

As you can see from my small sampling is that anyone can be a noir protagonist. A hardened criminal, a down-and-out loser, a lawman, a typical middleclass everyman, a young man of wealth and potential. In the noir universe, everyone if fallible. Everyone under the right circumstance can be seduced into crossing that line where there’s no coming back from.

In psycho noir, it’s a little different. There the noir protagonist is broken with no hope before the novel begins. Usually (but not always as with Lou Ford in KILLER INSIDE ME) they’re self-delusional, needing badly to believe they’re not as fucked up as they are.

FIRST OR THIRD PERSON?

Most noir novels are written in the first person. Being stuck in the head of a noir protagonist creates a claustrophobic effect that lends itself to noir. First person writing creates more of an intimacy with the reader, which can make the hell the character tumbles into all that more horrifying. But it is not an absolute. There have been great noir novels written in the third person such as Woolrich’s FRIGHT, Thompson’s A SWELL-LOOKING BABE, THE GETAWAY and THE GRIFTERS, to name just a few. Rex Stout even wrote a brilliant noir novel in the second person, HOW LIKE A GOD.

UNRELIABLE NARRATOR

The unreliable narrator works well with psycho noir, but only if the noir protagonist is lying as much to himself as he is to the reader, otherwise it’s a cheat and will lead to an unsatisfactory read. There has to be a reason why the narrator is unreliable—a defect in his personality, or possibly he’s so self–delusional that he’s incapable of recognizing the truth, or it could be that he desperately needs to fool himself or any other number of reasons. The unreliable narrator can also be very subtle in his unreliability, and one book that uses this to great advantage is SAVAGE NIGHT by Jim Thompson. The narrator in that novel is mostly relaying to the reader the unvarnished truth, but there is one lie that he desperately needs to hold onto so he can believe that there’s a hint of decency inside of him, and when the truth is exposed the effect to the reader is devastating.

THE TORMENTOR

A technique used in several of my favorite noir novels is to have a tormentor—someone who either suspects or knows what our noir hero has done, but instead of coming right out and accusing him, instead only drops hints about it, leaving our noir hero to stew over how much the person knows. A variant of this is having someone close to our noir hero—such as a wife—who has suspicions and is dropping hints not because they’re trying to torment our hero, but because they’re legitimately worried. And then there’s the accidental tormentor—someone who doesn’t suspect our noir hero is involved in the crime at the center of the book, but is still able to torment our hero by asking innocents questions about it.

NOIR EXERCISE

Here’s an exercise to try. Pick any Ross Macdonald Lew Archer novel, read it, and think of how it could be rewritten from the guilty party’s perspective as a noir novel.

READING LIST

I’m including below a reading list to help expose you to a ten excellent examples of noir fiction.

DOUBLE INDEMNITY by James M. Cain

HELL OF A WOMAN, SAVAGE NIGHT, THE GETAWAY, A SWELL-LOOKING BABE, all by Jim Thompson

THE WOMAN CHASER, COCKFIGHTER by Charles Willeford

THE NAME OF THE GAME IS DEATH by Dan Marlowe

THE VENGEFUL VIRGIN by Gil Brewer

DIRTY SNOW by George Simenon

FRIGHT by Cornell Woolrich

SHOOT THE PIANO PLAYER by David Goodis

ANYONE’S MY NAME by Seymour Shubin

MIAMI PURITY by Vicki Hendricks

ROBBIE’S WIFE by Russell Hill


About Dave Zeltserman. Dave’s crime noir thriller, SMALL CRIMES, made NPR’s and Washington Post’s best books of the year list. The Washington Post said of Dave’s crime noir novel, PARIAH: “If there's any other young writer out there who does crime noir better than Zeltserman, I don't even want to know.” After publishing 7 crime noir novels, Dave has decided he wants to make some money with his writing and his now writing mystery and horror fiction, although usually with a nourish sentiment.