Excerpt from Chapter One
Bud Palmer slipped on his sunglasses and set off in his Ford Sunliner convertible on this balmy subtropical Satur- day morning. All the while he tried to convince himself he could get this meeting over with quickly no matter what his shady uncle Rick was up to.
Then again Bud wished he’d just hung up on him. Not put up with “Can’t tell you over the phone. I need you here in person, soon as possible.” That way he wouldn’t be driving across the MacArthur Causeway. Moreover, if his mother hadn’t asked him to look out for her kid brother while she and his dad were on their Caribbean cruise, he’d never have been reminded of Rick’s schemes such as hanging up a dual Realtor/ PI sign.
He wouldn’t be thinking of Rick Ellis at all.
As he drove on, more disconcerting images came to mind: a wiry little guy clutching a polaroid camera, hiding behind the poinsettias as some floozy snuck into a garish motel with some- one’s husband in tow.
Not that Bud himself was always straightforward. At twenty- nine, while his friends were married with kids he was still easing out of relationships the minute he was asked, “Tell me, Bud, how much does a sportswriter make?” Or, “I hear there’s a new subdivision going up in Miramar, each house with a Lanai. Perfect for raising a family.”
In comparison with Rick, however, Bud was always honest about his intentions whether it be his work or love life. In contrast, when playing tennis for instance, Rick was always looking for an angle. He’d crouch behind the net ready to pounce or cut off an opponent’s serve, always looking to throw the server off his game.
Bud crossed over onto Miami Beach, tooled around, passed the ballfield at Flamingo Park, eased by the pastel sidewalks taking him up to Ocean Drive and the fresh fruit juice stand at 10th Street Beach. He parked by a curb directly in line with the juice stand, got out and crossed the sun-dappled street.
Glancing around, he took in the cool tinge of fall blowing in from the ocean, fusing with the salty scent of the water. The sun’s rays streamed through the fluffy clouds; the waves rippled, beckoning the smattering of sunbathers to take a dip.
Everywhere Bud looked nothing had changed. Which included the sight of middle-aged women across the way in their flowery sun dresses, whiling away the hours on the patios of their pink-stucco efficiency apartments; shuffling mahjong tiles; glancing over at the white sands stretching off into the distance in hopes of spotting some lonely bachelor. It was all predictable. Even his paper, the Miami Herald and source of his livelihood, discarded on the empty green bench, seconded the motion.
There was a photo of President Eisenhower above the fold playing golf nearby at Jackie Gleeson’s country club, and a sidebar noting the U.S. was gaining in the space race with the Soviets.
Whatever Rick was champing at the bit about had to be taken with the proverbial grain of salt.
As if in agreement, a voluptuous blond in a fuchsia bikini came into view, turned on the outdoor shower a few yards away, casually washed off the salt water residue on her shoulders, and winked.
Bud smiled back, checked his watch and gazed beyond the mahjong ladies to a gap in the row of efficiency apartments at the end of the block where the weathered bungalow sat a few yards back. The one with the fading sign fronting the bamboo porch railing that read Walk-ins Welcome: Services Unlimited.
He crossed over, hurried past the row of squat apartments, pivoted by the sign, noted the rear end of the rusty Studebaker sitting in the carport, and nodded. It was all the same-old same- old promising more of the same. He bound up the steps, called out “Hello?” opened the screen door and walked right in.
And, sure enough, there Rick was ready and waiting, sporting that signature Charlie Chaplin mustache, flowered short-sleeved shirt and white linen slacks. The first worrisome signal, however, was his bleary, blood-shot eyes as he over-poured a carafe of steaming black coffee into a mug. He whipped out a handkerchief, plunked the carafe and mug on the edge of the desk in the center of the room, and mopped up the spill. At the same time, Bud took in the rest of the place and saw that it hadn’t changed a bit, starting from the girlie calendars on the walls, milk boxes full of paperbacks on the floor; the cluttered desk topped by a scuffed black rotary phone, notary stamp, and the Smith-Corona typewriter flanked by a hat stand with a random display. To complete the picture, there was the rack of glossy magazines so that Rick could keep up with the latest, plus a wooden perch that once accommodated a talking parrot on the near side of a shaded window and a sun-bleached deck chair.
Everything was the same and not at all the same.
Monday, January 27, 2025
Fast Times, Big City by Shelly Frome #HistoricalFiction
How to make your characters believable
Perhaps the most telling example of character driven writing centers on the playwright Edward Albee’s struggles in creating Who’s Afraid of Virginia Woolf? He had the narrative all mapped out but in the initial drafting phase got stuck when boozy, enraged and disenchanted Marsha turned flat on him instead of the colorful mate for George he’d envisioned who delighted in playing marital games. Finally, in a sense, Martha came to him and threatened to remain flat and predictable and utterly fade if he didn’t back off and let her loose. At the point when he let her go her own way, surprising things began to take place to the point where Martha insisted she and George had an imaginary child. A secret that couldn’t be mentioned and was in danger of being exposed if things go out of hand with a visiting couple. As a result things got surprisingly out of hand and eventually became a remarkable film starring Elizabeth Taylor and Richard Burton as George. The rest, as they say, is history.
Moreover, there are countless examples of noted novelists like Kate Atkinson who have followed this lead, greatly augmenting it by delving in what’s going on in characters’ minds that contradict their behavior on the surface. In other words, they have this telling fantasy life as well as what passes for their everyday behavior, driven by secrets from the past and so on.
In a more practical sense, the key lies in understanding each primary character’s background, character traits and motivation at the point of disturbance. When this is not just another day. When the story actually starts and we’re off and running, the leading character is forced to act, that action meets strong resistance and by the time the proverbial smoke clears she or he has changed significantly.
As a case in point to illustrate the process, I found myself longing for something I’d lost or never had. Which brought me back to the days of my youth in Miami. But I had to create a character who I could send out there, one who was older, wiser and able to carry out a dicey, viable venture. I had to create a life with entirely different circumstances, a person who is propelled out into the madcap world of Manhattan. I also needed a title that would reflect my reluctant hero’s journey and the provocative dynamics and so I came up with Fast Times, Big City.
More specifically, Bud Palmer was a well-behaved product of conformist, sleepy, safe and predictable Miami of the fifties. His parents are on a Caribbean cruise and expect him to look out for his feckless uncle Rick who is always up to no good on Miami Beach. And it’s there Ben is summoned because Rick has gotten embroiled in huge losses at a card game and a missing attache` case. In order to save Ricks hide, Ben finds himself a fish out of water in the city that never sleeps, chasing not only the silverline case but an ingĂ©nue from the Midwest who wants to be like Marilyn Monroe who is connected with the Actors Studio and, also as it turns out, the notorious crime families.
It’s a combination of a three-dimensional, unpredictable character, in a state of imbalance forced out of his comfort zone; then faced with insurmountable obstacles, interacting with other lifelike characters that drives the narrative.
Simply put, you have to know your central character inside and out and look forward to the surprises. If you need a more precise method, give him or her a lively background and past experiences, endow this character with flaws and a certain vulnerability, put him or her under pressure and see what happens. Surely now you’re on your way.
Shelly Frome
Genre: Historical Fiction
Publisher: BCB Publishing
Date of Publication: February 27 2024
ISBN: 9798886330267
ASIN: BOC8CBLC2C
Number of pages: 284
Word Count: 77, 501
Cover Artist: Frank Federico
Tagline: Bud Palmer is in a bind as he finds himself at the crossroads where everything is on the verge
Book Description:
Like most people, Bud Palmer felt this was just another day. Though the era was drawing to a close, he assumed his life as a sports columnist in the subtropics, in keeping with the benign fifties itself, would go on as predictable as ever.
But that particular autumn morning he was thrust into a caper that was totally beyond him, forced him to leave Miami and take the train to Manhattan, and suddenly found everything in this restless "Big Apple" was up for grabs, on the brink, at a dicey turning point.
Shelly Frome is a member of Mystery Writers of America, a professor of dramatic arts emeritus at UConn, a former professional actor, and a writer of crime novels and books on theater and film. He also is a features writer for Gannett Publications. His fiction includes Sun Dance for Andy Horn, Lilac Moon, Twilight of the Drifter, Tinseltown Riff, Murder Run, Moon Games, The Secluded Village Murders, Miranda and the D-Day Caper and Shadow of the Gypsy. Among his works of non-fiction are The Actors Studio: A History, a guide to playwriting and one on screenwriting, Fast Times, Big City is his latest foray into the world of crime and the amateur sleuth. He lives in Black Mountain, North Carolina.
Author website: http://www.shellyfrome.com/
Twitter: https://twitter.com/shellyFrome
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