ATSNStop the ThreatChuck Thompson
Sarah’s latest crime fiction thriller is The Carlucci Betrayal.
Here is a glimpse into Sarah’s award-winning career:
Sarah Cortez, a Councilor of the Texas Institute of Letters, Fellow of the Dallas Institute of Humanities and Culture, and Fellow of the Virginia Center for the Creative Arts. She has poems, essays, book reviews, and short stories anthologized and published in journals, such as Texas Monthly, Rattle, The Sun, Pennsylvania English, Texas Review, Louisiana Literature, The Midwest Quarterly, Southwestern American Literature. Winner of the PEN Texas Literary Award, her debut poetry collection is How to Undress a Cop. Her books have placed as finalists in many contests, such as the Writers’ League of Texas Awards, Los Angeles Book Festival Awards, and the PEN Southwest Poetry Awards Latino Book Awards, Border Region Librarians Association Award, Press Women of Texas Editing Award. She has been both a Houston and Texas finalist for poet laureate; she is a law enforcement veteran of 28 years. Her memoir entitled Tired, Hungry, Standing in One Spot for Twelve Hours: Essential Cop Essays brings the reader into the patrol car as it reveals America’s most dangerous profession.
The Carlucci Betrayal takes readers deep into the Mississippi Delta during Prohibition to witness the founding of a criminal empire, and not since The Godfather has a Mafia family captivated readers the way the Carlucci brothers do in Robert Wilkins’ and Sarah Cortez’s rollicking novel of love, lust, and naked ambition.
Michael Bracken – Anthony Award-nominated editor of The Eyes of Texas
Genres in Which I Write: I write in more than one genre, and I love seeing how the interaction of skill and intention translates and doesn’t translate across genres.
I began as a literary fiction writer, then to poetry, then to memoir. At this point, I think I’ve been published in almost all popular and literary genres and subgenres. I love all kinds of writing and edit all genres.
Writing Process: In terms of my writing process, I don’t have much leeway to choose a particular set of locations or circumstances to write. As a full-time professional writer/editor, I write when and where I can. I always seem to have deadlines breathing down my neck, whether for writing or editing. I am also an editor for a large international Catholic online journal of the arts. Those deadlines keep me very busy. www.catholicartstoday
First Publication: My first book came out within less than three years of beginning to write poetry. I now have 14 books—all traditionally published. For quite a few years, I had one or two books published per year. I have been very fortunate to work with publishers who really believed in my book projects.
Characters: In the popular genre of crime fiction, there are usually two strong-willed characters: the criminal and the sleuth. They must be fairly evenly matched in order to have a drawn-out conflict that is sufficiently interesting for a reader to read the entire novel.
The process of creating a 3-D character, particularly a main character is involved and mysterious. Tomes have been written about it. Curiously enough, it is the one critically important step that most fiction writers, particularly beginning fiction writers, don’t spend enough time doing. All the hours of research, imagining, taking notes, thinking through personality and choices, and personal history of the character pay off. Yet, most fiction writers either skip this step or do it quickly—a fatal mistake to both plot and the possibility of writing a book that readers enjoy.
Writing Characters of the Opposite Sex: Due to police work and my corporate career before policing, most of my life has been spent working with men. I do not find it a particular challenge to write from a male’s POV. In fact, most of my literary and popular fiction is written in a male’s POV.
Do You Base Characters on Real People? As a freelance editor who has been privileged to work with many writers, I think that basing a fictional character on a real person is an absolute no-no. Fiction that does this results in erratic character motivation and is often boring. Characters must be free to act according to the psychological and emotional dimensions based on the imagined history and personality that the writer has given them. So, you can see from this line of thought that I never base my characters on real people and certainly never on myself.
How To Raise the Stakes for Characters? Especially in popular fiction, but also to a lesser degree in literary fiction, the author’s “job” is to apply stress on the main character. These stresses of circumstance create conflict, and conflict creates plot. The way the stress is applied to each character will be different since each character has a different personality and history.
Does a Protagonist Ever Disappoint You? As an author, I am not thinking about my reactions to characters in a book. I am always thinking, however, about what the scene needs to be of interest to a reader. Sometimes a protagonist needs to fail, whether that failure is of his choice or imposed on him. If the writer is writing a protagonist that changes throughout the book, the protagonist will make mistakes. Some characters, like James Bond, do not change over the course of a book. But even this type of character does experience failure of action and choices.
vintage Italian mafia gangster in 1930 in New York
What Kind of Research Do You Do? I research what I need to research. Sometimes that involves an entire era with its cultural artifacts of music, dance, clothes, attitudes, disasters, politics, etc. Sometimes research is very specifically related to a particular scene. For instance, in The Carlucci Betrayal, I had to find out how a young male below the age of military service would get to Europe in 1938 to volunteer to fight against Hitler. Since 1938 was before the U.S. declared war, I had to see which avenues were open to this young man. This only affected a couple of sentences in a phone conversation between two main characters, but it had to be historically accurate.
Also, for The Carlucci Betrayal, I had to research Mississippi law regarding homicide and manslaughter in the late 1920s for a courtroom scene and for the lawyer’s arguments to be accurately based on the law.
A Writer You Admire: I greatly admire Megan Abbott, a wonderful noir writer. She successfully combines what’s best about crime fiction with exquisitely styled prose. She is so successful because so few writers write with her precision and energy in such gorgeous prose. My favorite title of hers is Bury Me Deep.
Advice for New Writers: I’ll pass along some wise advice from a professional saxophone musician: don’t choose anything but your horn. In other words, writing demands a serious commitment to practice and learning. When the others meet their friends to go bowling or drink at the bars, you must be reading, learning, revising, drafting, studying, etc. If you’re going to be a good (highly skilled) writer, then writing isn’t a hobby. It is your job.
Anything Else You’d Like to Mention: Getting to work on The Carlucci Betrayal was tremendously hard work and also tremendous fun! I’ve always wanted to write Mafia-era fiction. This gave me an opportunity to research plus create three-dimensional characters that acted according to a different era’s pressures in a society that was both more constricted and more free-wheeling than today’s.
I also relished my research into Mafia fashion. Not only for the men but for the women. Holsters, spare magazines, stilettos, razors, cigarette lighters, etc. Types and calibers of guns. Several PWSA members helped me out with these questions. For me, becoming conversant with places of concealment, fashions for men and women, mobsters on different coasts, and what they wore—fascinating! It was a delicious peek into the psychology and practicality of why the mobsters and their ladies wore what they wore.
Readers can contact me at: firstname.lastname@example.org or at email@example.com
Our website, carluccibetrayal.com – Search Results | Facebook, also has a “Contact Me” button.
I am available for virtual book readings and presentations on Mafia Fashion.
Follow us on Facebook at The Carlucci Betrayal | Facebook
I am a poet.
I began seriously writing when I was seven years old. I remember making my first few lines in the diary. I convinced my paternal grandmother to buy it when we went uptown one day. This was during summer break when we, my sister and I, would stay with her for our annual visit. Beans and tortillas were all we ate, running in and out of the kitchen all day long and back outside, gulping a spoonful each time we passed the stove.
Wanting to write was a conscious choice for me at a young age. The book, Frederick the Mouse by Leo Leonni, was my early inspiration. I learned the power of words to make one whole, feel well-fed, and warm through that acclaimed children’s book. Frederick being a mouse poet, helped his family get through the coldest part of winter with his poems when their stores ran out.
Today I am the City of Madison Poet Laureate and the first Latina in this role. I served one-year as of January 2021. I have published three of my own collections of poetry and have a new one coming out soon. I have edited and co-edited books, journals, and zines, including the Spring 2019 edition of the Yellow Medicine Review. I went back in 2015, in my late forties, to get my MFA in poetry from the Institute of American Indian Arts in Santa Fe, New Mexico. I graduated in May 2017.
I also serve as the vice-chair on the Wisconsin Poet Laureate Commission and help pick the state’s poet laureate biennially. I consider myself a literary ambassador in my role as poet laureate. Balancing my volunteerism, writing, appearances, and readings with my full-time job takes some organizing. It helps to have a partner who is an artist as well. We recently made Sundays full art days in our house.
Do you write in more than one genre? I do write in other genres, earning two Pushcart nominations, one for an essay and another for a poem. I write short stories, sci-fi and am working on a memoir right now. I took a class with IAIA alum David Tromblay in Fall 2019 and got a good start on my memoir. Poems are my favorite, though.
Tell us about your writing process: Everything for me starts in longhand. I edit on my computer. When I get stuck, I move it back to the page and write it out in longhand to figure out what went wrong in the editing process. I write in my body: hand to wrist to arm to core to heart to brain and back. I write fast on the page and have long practiced automatic writing. My pen always ahead of my brain, my conscious self. I am often surprised by what comes out on the page. The pen admits what I have been avoiding. That’s when writing gets exciting when you are a conduit of sorts and along for the ride. Sometimes lines come to me at night when I am dreaming. I do edit my poems voraciously and enjoy the rigorous process. I think this is where the real writing is now, in the editing. I find inspiration easy, but then I need to work with what I have created and sculpt it on the page until I am satisfied with form, white space, and sound. Poems take you where they want to go and are not done until you have read them in public. I read my poems aloud as I edit, but they sound different in my study than they do at a venue with actual people present. I do not consider a poem done until it has been shared orally with others. When I was a younger poet, I tried out poems at open mics to test them. Now I can record them and listen back, but it is still worthwhile to share them with others for final edits, in my opinion. Poems sound different when you read them to a live audience that one word makes a difference.I also think it is important to read other poets’ work, old and new. I like the idea of poets in conversation with each other across time and space and genre. Some of my poems are in direct response to another poet’s poem I heard them perform or something I read in print or online. I learned in graduate school that I love theory and continue to study. Listening to poets and writers read their work is a real pleasure for me. How you hear the words in your head versus when it is a public performance is enlightening. I listen to poetry readings, lectures, or conversations with writers when I cook these days or travel to visit my family in Chicago or Milwaukee.
What are you currently working on? I just received my contract from Finishing Line Press for my newest collection, My People Redux. This is the 2nd half of my master’s thesis. In Light, Always Light, also published by FLP in May 2019, was the first half. I graduated in May 2017 and spent a long year re-working my poems. In Light, Always Light, accepted in August 2018, was a finalist for their New Women’s Voices Award.
Concurrently, I am working on another collection of poetry that focuses on the history of us humans. This involves research. I am enjoying the process and taking my time. Some of these poems are published, and some are still being edited. I need to continue to push them out into the world. I was also working on my memoir in fits and starts.
In my role as the poet laureate for the City of Madison, I will be judging the annual Bus Line Poetry contest soon. I have many upcoming scheduled readings for a book I just published under my small press Art Night Books in November 2019 called, Through This Door – Wisconsin in Poems. This is a collaboration with the most recent state poet laureate, Margaret Rozga. The book took us over a year to put out and is the second time we have published a collection together. I served as co-editor for this collection in addition to being the publisher, and we have had a good response. Twice we have been on the radio, NPR stations, and I have logged many hours at the post office mailing books out across the state and country. We had to go back to the printer three times now.
I consider myself a literary ambassador as a poet laureate and this has opened up many doors for me. I want to continue to do that for other writers. We need community and support. I would not be where I am today without the networks I found all along the way. Nor, without people sharing opportunities with me and freely offering up what they know, and being generous. I believe in the power of art to heal, connect and create community. It is a record of our lives and our history. I am so happy to be on this journey at this moment in time.
Here are comments about my work by two poets I admire:
The poems of In Light, Always Light afford space for the lyric to clarify and delineate the self “… through the ravine to the seam / the V peak of the hills / where dappled light spills / between rocks and discarded beer cans.” Here Angela Vasquez presents poems that struggle to contend with family history, a history of diaspora and relation, of assertion and insistence that the reader and the poet must bring to bear the imperative of “yes, yes fight back.” The poems travel, as we do, to observe the poet in the eternal dimension where one must write, and read — “Let me sit in sadness for a spell. / I need to write this out.”
–Joan Naviyuk Kane, 2018 Guggenheim Fellow
The poems in Angie Trudell Vasquez’s In Light, Always Light honor the illuminating power of poetry, but they also speak eloquently of racial injustice and the dark “inherited grief” that is its offspring. These are poems of history, endurance, and remembrance. They vividly story the strength and survival of migrant ancestors “who built railroads / with broken backs” or shared “mole recipes on parchment.” In those relatives “passed. . .to vases of bone and ash,” Vasquez recognizes the fleeting quality of human reality. Like our forebears, we are mere “half blinks of history,” “we are magic dying.” But in this volume, Vasquez offers her ancestors colorful and enduring literary lives. “Poets,” she writes, “resist the death of a people” and “beyond death, art speaks.”
Kimberly Blaeser, author of Apprenticed to Justice, Wisconsin Poet Laureate 2015-2016
If people want to connect with me, the best way is email: firstname.lastname@example.org
My website is www.angietrudellvasquez.com, and my small press website is http://www.artnightbooks.com
The Birth of The Mona Lisa Sisters
Ten years ago, I was managing Safety and Security for Palm, Inc. A few months later, Hewlett-Packard acquired Palm in what is often referred to as a disastrous acquisition. Not long after, H-P began the layoffs. I got a weekly list of those to be laid off the following week. When the notice came for my team, I gave them the week off to start on a job hunt. A few weeks later, I learned I would be terminated the following Monday. I cleaned out my office but hung around in case there were any problems.
Then began my introduction to how rampant age-discrimination had become. After three months, it was so obvious; I started a spreadsheet. I recorded 140 applications after that. Often, I could swear the hiring company had used my resume as the requirement for the position. My mistake was being honest. I included that I was a Vietnam War Veteran. Any H/R person in the world would spot that and know I was at least sixty years old. I got one interview. I walked in, business suit, tie, and white hair. The two people I talked with were wide-eyed twenty-somethings. They were polite in their T-Shirts, torn pants, and sandals . . .for about five minutes. Then, “Thank you for coming in, George. Have a good day.”
Early 2012, I saw that the local senior center was offering a writing class. I figured it might help with a new resume—wrong. It was a fiction writing class. I was learning creative writing, and I loved it. After a month or so, the instructor passed out random pictures to each student. The assignment: “Study the image, take fifteen minutes, and describe the scene.”
I took one look at my picture, two girls looking up at the Mona Lisa, and ignored the assignment. In those fifteen minutes, I knew I would write a novel. I had notes on paper, the story in my mind, and the title. And it all came together to form the genesis for The Mona Lisa Sisters.
That began an eight-year journey.
I enrolled at Las Positas College and took writing classes. Unlike my earlier college years, it was no longer drudgery. I earned straight As. The assignments lead to multiple revisions of my novel.
In a class taught by Karin Spirn, I read about a fantastic instructor at UC Berkeley who did not have a doctorate. Instead, he held an MFA. In another class, I was introduced to the work of Native American poet Joy Harjo. She was recently appointed to a third term as the U.S. Poet Laureate. I began following her on social media. I saw that Harjo was a guest lecturer at the Institute of American Indian Arts, MFA Program. An enrolled descendant of the Karuk Tribe of California, I called IAIA and applied. Five days later, I received an acceptance notice for the Low-Residency MFA Program. IAIA, Santa Fe, New Mexico.
For the next two years, my manuscript was my thesis paper, The Mona Lisa Sisters. I rewrote, revised, and learned. My mentors were terrific and have, over time, become much more to me. One area that I got dinged on was when I brought my characters to the dinner table. The settings often lacked enough detail to draw the reader into the scene. Ismet “Izzy” Prcic, roared “People don’t go to dinner and leave. They eat. What the “F” are they eating—saying?”
Mona Lisa is set in the early 1890s. So, I had much research to do before bringing food to the table. I did it—overdid it—added several thousand words. Izzy, “I don’t need to know every single effen thing they ate and how it was prepared.” I subtracted words to please him.
Each addition or subtraction required rewrites.
The program required a great deal more than working on my manuscript. I attended lectures, readings, workshops, and read and wrote critical reviews of over forty books. Two authors I had held extreme distaste for became favorites—Albert Camus and Joyce Carol Oates. Most of those forty books are full of underlining, highlighting, and writing in the margins. My mentors and I collaborated on the selection of books. Native Americans wrote at least half our choices. I was introduced to the work of such great authors as,
- Debra Magpie Earling (Bitterroot Salish) – Perma Red
- Louise Erdrich (Chippewa) – The Round House
- David Treuer (Ojibwe) – Little
- Leslie Marmon Silko (Laguna Pueblo) – Ceremony
I met many who shared their world and writing. I met Joy Harjo and chatted over cafeteria dinner. Tommy Orange, There There, was a contemporary, as was Angela Trudell Vasquez. Angie is the Poet Laureate of Madison, Wisconsin.
When I faced the challenge of my thesis/manuscript, one of the questions came from another, fantastic teacher and author, Pam Houston. Her first question had to do with the scenes set in . . . the dining room. I shouldn’t have, but I laughed. I know Izzy put her up to it.
This year, I finished the twenty-third revision of The Mona Lisa Sisters. Agent queries had been returned with polite rejections. I sat back, told the manuscript, “I’m starting to hate you. I’m finished.”
I reached out to Paula Chinick of Russian Hill Press and told her I was done and wanted her to publish the bloody thing. She agreed. I figured my work was done—wrong.
The cover design took months. Getting back-cover reviews became urgent. I was stuck until I recalled a talk where a young author mentioned he sent out requests to known authors and asked them to read and write reviews. “What have I got to lose?” I asked myself and sent out four requests. Three agreed to write reviews. I even had one person, out of the blue, offer to write one.
I used two. Ramona Ausubel wrote one. I love her novel No One is Here Except All of Us. The other, by playwright, editor, and UCLA instructor Victoria Zackheim. I also used a Kirkus review.
Violet (Vi) Moore came on board as the editor. She forced me to pick up the manuscript and read it line by line and make corrections before she would touch it. I’m glad she did. Over two months, we made more corrections and changes than I will ever admit.
Then the galleys came, and Paula made me do it all over again. The editor is usually done by then–nope. Vi called and ordered me to reread it. I know we missed at least one typo. One of my readers sent me a note informing me of my oversight.
Paula, Vi, and the cover design team were all very reasonable in the charges to bring the project to fruition.
Amazon released The Mona Lisa Sisters on August 14, 2020. A little over eight years after the instructor handed me a picture of two young girls looking at the Mona Lisa.
I met and have become friends with so many fine people as the result of my diving into the world of fiction writing. I have been and will forever be blessed for having started the journey when I couldn’t find a job.