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mostlysignssomeportents · 2 months

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An excerpt from The Bezzle

I'm on tour with my new novel The Bezzle! Catch me next in SALT LAKE CITY (Feb 21, Weller Book Works) and SAN DIEGO (Feb 22, Mysterious Galaxy). After that, it's LA, Seattle, Portland, Phoenix and more!

Today, I'm bringing you part one of an excerpt from Chapter 14 of The Bezzle, my next novel, which drops on Feb 20. It's an ice-cold revenge technothriller starring Martin Hench, a two-fisted forensic accountant specialized in high-tech fraud:

https://us.macmillan.com/books/9781250865878/thebezzle

Hench is the Zelig of high-tech fraud, a character who's spent 40 years in Silicon Valley unwinding every tortured scheme hatched by tech-bros who view the spreadsheet as a teleporter that whisks other peoples' money into their own bank-accounts. This setup is allowing me to write a whole string of these books, each of which unwinds a different scam from tech's past, present and future, starting with last year's Red Team Blues (now in paperback!), a novel that whose high-intensity thriller plotline is also a masterclass in why cryptocurrency is a scam:

https://us.macmillan.com/books/9781250865854/redteamblues

Turning financial scams into entertainment is important work. Finance's most devastating defense is the Shield Of Boringness (h/t Dana Clare) – tactically deployed complexity designed to induce the state that finance bros call "MEGO" ("my eyes glaze over"). By combining jargon and obfuscation, the most monstrous criminals of our age have been able to repeatedly bring our civilization to the brink of collapse (remember 2008?) and then spin their way out of it.

Turning these schemes into entertainment is hard, necessary work, because it incinerates the respectable suit and tie and leaves the naked dishonesty of the finance sector on display for all to see. In The Big Short, they recruited Margot Robbie to explain synthetic CDOs from a bubble-bath. And John Oliver does this every week on Last Week Tonight, coming up with endlessly imaginative stunts and gags to flense the bullshit, laying the scam economy open to the bone.

This was my inspiration for the Hench novels (I've written and sold three of these, of which The Bezzle is number two; I've got at least two more planned). Could I use the same narrative tactics I used to explain mass surveillance, cryptography and infosec in the Little Brother books to turn scams into entertainment, and entertainment into the necessary, informed outrage that might precipitate change?

The main storyline in The Bezzle concerns one of the most gruesome scams in today's America: prison-tech, which sees America's vast army of prisoners being stripped of letters, calls, in-person visits, parcels, libraries and continuing ed in favor of cheap tablets that bilk prisoners and their families of eye-watering sums for every click they make:

https://pluralistic.net/2024/02/14/minnesota-nice/#shitty-technology-adoption-curve

But each Hench novel has a variety of side-quests that work to expose different kinds of financial chicanery. The Bezzle also contains explainers on the workings of MLMs/Ponzis (and how Gerry Ford and Betsy DeVos's father-in-law legalized one of the most destructive forces in America) and the way that oligarchs, foreign and domestic, use Real Estate Investment Trusts to hide their money and destroy our cities.

And there's a subplot about music-royalty theft, a form of pernicious wage theft that is present up and down the music industry supply-chain. This is a subject that came up a lot when Rebecca Giblin and I were researching and writing Chokepoint Capitalism, our 2022 book about creative labor markets:

https://chokepointcapitalism.com/

Two of the standout cases from that research formed the nucleus of the subplot in The Bezzle, the case of Leonard Cohen's batshit manager who stole millions from him and then went to prison for stalking him, leaving him virtually penniless and forced to keep touring to keep himself fed:

https://www.theguardian.com/music/2012/apr/19/leonard-cohen-former-manager-jailed

The other was George Clinton, whose manager forged his signature on a royalty assignment, then used the stolen money to defend himself against Clinton's attempts to wrestle his rights back and even to sue Clinton for defamation for writing about the caper in his memoir:

https://www.musicconnection.com/the-legal-beat-george-clinton-wins-defamation-case/

That's the tale that this excerpt – which I'll be serializing in six parts over the coming week – tells, in fictionalized form. It's not Margot Robbie in a bubble-bath, it's not a John Oliver monologue, but I think it's pretty goddamned good.

I'm leaving for a long, multi-city, multi-country, multi-continent tour with The Bezzle next Wednesday, starting with an event at Weller Bookworks in Salt Lake City on the 21st:

https://www.wellerbookworks.com/event/store-cory-doctorow-feb-21-630-pm

I'll in be in San Diego on the 22nd at Mysterious Galaxy:

https://www.mystgalaxy.com/22224Doctorow

And then it's on to LA (with Adam Conover), Seattle (with Neal Stephenson), Portland, Phoenix and beyond:

https://pluralistic.net/2024/02/16/narrative-capitalism/#bezzle-tour

I hope you'll come out for the tour (and bring your friends)!

Between 1972 and 1978, Steve Soul (a.k.a. Stefon Magner) had a string of sixteen Billboard Hot 100 singles, one of which cracked the Top 10 and won him an appearance on Soul Train. He is largely forgotten today, except by hip-hop producers who prize his tracks as a source of deep, funky grooves. They sampled the hell out of him, not least because his rights were controlled by Inglewood Jams, a clearinghouse for obscure funk tracks that charged less than half of what the Big Three labels extracted for each sample license.

Even at that lower rate, those license payments would have set Stefon up for a comfortable retirement, especially when added to his Social Security and the disability check from Dodgers Stadium, where he cleaned floors for more than a decade before he fell down a beer-slicked bleacher and cracked two of his lumbar discs. But Stefon didn’t get a dime. His former manager, Chuy Flores, forged his signature on a copyright assignment in 1976. Stefon didn’t discover this fact until 1979, because Chuy kept cutting him royalty checks, even as Stefon’s band broke up and those royalties trickled off. In Stefon’s telling, the band broke up because the rest of the act—especially the three-piece rhythm section of two percussionists and a beautiful bass player with a natural afro and a wild, infectious hip-wiggle while she played—were too coked up to make it to rehearsal, making their performances into shambling wreckages and their studio sessions into vicious bickerfests. To hear the band tell of it, Stefon had bad LSD (“Lead Singer Disease”) and decided he didn’t need the rest of them. One thing they all agreed on: there was no way Stefon would have signed over the band’s earnings to Chuy, who was little more than a glorified bookkeeper, with Stefon hustling all their bookings and even ordering taxis to his bandmates’ houses to make sure they showed up at the studio or the club on time. Stefon remembered October of ’79 well. He’d been waiting with dread for the envelope from Chuy. The previous royalty check, in July, had been under $250. The previous quarter’s had been over $1,000. This quarter’s might have zero. Stefon needed the money. His 1972 Ford Galaxie needed a new transmission. He couldn’t keep driving it in first.

The envelope arrived late, the day before Halloween, and for a brief moment, Stefon was overcome by an incredible, unbelieving elation: Chuy’s laboriously typewritten royalty statement ended with the miraculous figure of $7,421.16. Seven thousand dollars! It was more than two years’ royalties, all in one go! He could fix the Galaxie’s transmission and get the ragtop patched, and still have money left over for his back rent, his bar tab, his child support, and a fine steak dinner, and even then, he’d end the month with money in his savings account.

But there was no check in the envelope. Stefon shook the envelope, carefully unfolded the royalty statement to ensure that there was no check stapled to its back, went downstairs to the apartment building lobby and rechecked his mailbox.

Finally, he called Chuy.

“Chuy, man, you forgot to put a check in the envelope.”

“I didn’t forget, Steve. Read the paperwork again. You gotta send me a check.”

“What the fuck? That’s not funny, Chuy.”

“I ain’t joking, Steve. I been advancing you royalties for more than three years, but you haven’t earned nothing new since then—no new recordings. I can’t afford to carry you no more.”

“Say what?”

Chuy explained it to him like he was a toddler. “Remember when you signed over your royalties to me in ’76? Every dime I’ve sent you since then was an advance on your future recordings, only you haven’t had none of those, so I’m cutting you off and calling in your note. I’m sorry, Steve, but I ain’t a charity. You don’t work, you don’t earn. This is America, brother. No free lunches.”

“After I did what in ’76?”

“Steve, in 1976 you signed over all your royalties to me. We agreed, man! I can’t believe you don’t remember this! You came over to my spot and I told you how it was and you said you needed money to cover the extra horns for the studio session on Fight Fire with Water. I told you I’d cover them and you’d sign over all your royalties to me.”

Stefon was briefly speechless. Chuy had paid the sidemen on that session, but that was because Chuy owed him a thousand bucks for a string of private parties they’d played for some of Chuy’s cronies. Chuy had been stiffing him for months and Stefon had agreed to swap the session fees for the horn players in exchange for wiping out the debt, which had been getting in the way of their professional relationship.

“Chuy, you know it didn’t happen that way. What the fuck are you talking about?”

“I’m talking about when you signed over all your royalties to me. And you know what? I don’t like your tone. I’ve carried your ass for years now, sent you all that money out of my own pocket, and now you gotta pay up. My generosity’s run out. When you gonna send me a check?”

Of course, it was a gambit. It put Stefon on tilt, got him to say a lot of ill-advised things over the phone, which Chuy secretly recorded. It also prompted Stefon to take a swing at Chuy, which Chuy dived on, shamming that he’d had a soft-tissue injury in his neck, bringing suit for damages and pressing an aggravated-assault charge.

He dropped all that once Stefon agreed not to keep on with any claims about the forged signature; Stefon went on to become a good husband, a good father, and a hard worker. And if cleaning floors at Dodgers Stadium wasn’t what he’d dreamed of when he was headlining on Soul Train, at least he never missed a game, and his boy came most weekends and watched with him. Stefon’s supervisor didn’t care.

But the stolen royalties ate at him, especially when he started hearing his licks every time he turned on the radio. His voice, even. Chuy Flores had a fully paid-off three-bedroom in Eagle Rock and two cars and two ex-wives and three kids he was paying child support on, and Stefon sometimes drove past Chuy Flores’s house to look at his fancy palm trees all wrapped up in strings of Christmas lights and think about who paid for them.

ETA: Here's part two!

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/02/17/the-steve-soul-caper/#lead-singer-disease

#pluralistic #the bezzle #martin hench #marty hench #red team blues #fiction #crime fiction #crime thrillers #thrillers #technothrillers #novels #books #royalties #wage theft #creative labor

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em-dash-press · 10 months

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8 Tips for Writing Crime Fiction

People love a good whodunit. It’s why there are so many crime fiction subgenres: detective fiction, courtroom fiction, thrillers, cozy mysteries, historical mysteries, and more.

If you want to try your hand at a story centralized around a crime, you might wonder if you need detective experience or a lifetime in the actual crime world to make a great short story or novel.

Check out these tips to find out what you need to get started.

Tips for Writing Crime Fiction Stories

1. Read Crime Novels or Short Stories

When someone wants to become great at sports, they find a coach. When they want to start a new career path, they go to school or find a mentor.

If you want to write crime fiction and you’ve never tried it before, treat yourself to some new reading material. You can browse the latest crime novels or short story collections to see what readers can’t get enough of. As you read with the intention of studying the work through your writer’s eyes, you’ll learn how to pull a crime story together.

Pay attention to how the authors build tension, introduce new facts and pull characters together through the primary criminal act in the plot. Note whatever interests you or makes you excited to read the next page.

2. Pick Your Conflict

While you can have multiple types of conflict in a successful story, you should pick a primary conflict as your crime fiction plot device. The crime itself could kick off your story and push everything forward, or it could be what makes your story fall apart on purpose.

Will you write an interpersonal detective story or involve the criminals themselves? Maybe your narrative will center on a victim’s loved one who becomes your protagonist. Your primary conflict will shape your plot and help you create the best protagonist to carry your story.

3. Create Your Crime First

It’s not impossible to write a crime story without detailing the crime itself before you start writing—but it’s much easier. It’s especially important if you’re planning to write a novel because there are so many elements that rely on things like:

Who does the crime?

What is the crime?

When does it happen?

Why does it happen?

Where does it happen?

What’s the motivation for doing this crime (if any)?

What are the repercussions of this crime (for all of your involved characters and their world)?

You’ll spin everything out from the crime, so start by picking an illegal event you want to write about. If you need help, read newspaper articles or browse true crime documentary descriptions to make a list of possibilities.

4. Save Your Most Helpful Research Sources

The realism of crime fiction plays a significant role in interesting your readers. You’ll need to research so much when you know what your plot will hold and what crime it involves.

You might spend weeks, months, or even years reading about things like:

How your protagonist’s world works before the crime and how the crime changes it

How DNA profiling does and doesn’t work

How first responders and cops handle crime scenes

How people are treated by the media when they or their loved one are hurt in a crime

How the legal proceedings afterward work for your protagonist

Once you know how the framework of each element works, you can create plot twists by causing slight breaks in the systems. I highly recommend saving pictures, links, and detailed notes in digital documents like a Google Doc or spreadsheet. You can also use the resources listed here to find other ways to visually save your research.

5. Give Your Antagonist a Motivation

Many crimes happen because people plan them to their advantage. A robber steals money because they have overwhelming medical debt. A killer murders someone who hurt them in the past.

The motivations won’t always be morally right, but they have to exist. Make sure your antagonist has one before and after the crime occurs. How does the event change their motivations or goals? That’s essential to know to keep them grounded within their own realm of reasoning.

If you’re writing a crime that wasn’t intentional, there has to be a motivation carrying your antagonist forward in the aftermath. What’s making them make their decisions regarding how they cover up the crime or distance themselves from it?

Tips to Take Care of Yourself While Writing Crime Fiction

1. Check In With Yourself

It’s so easy to bury your emotional well-being while writing a dark story. You might want to finish it on time or get through a particularly gruesome part of the plot, but pushing your emotional state to the side will only lead to burnout or worse.

Check in with your emotions to see what you need throughout your writing process. Sit quietly by yourself and ask what emotions are present. Let them speak above your story’s needs or your other responsibilities. Then see if those emotions have been lingering for the last week or two. Journaling can help with this, but you can also record your thoughts in the Notes app on your phone or a spare piece of paper by your laptop.

You might need to step away from your work for a bit or write a more laid-back story to give your mind a break. Maybe a good cry will release the pent-up emotions from your hours of research into how cruel humans can become.

Writing about darkness doesn’t mean you have to be trapped in that darkness for however long it takes to write the story.

Take care of yourself first. You’re more important than any story.

If your mind ever starts to feel overwhelmed while you’re writing a story with heavy thematic elements or violent events, please get help. I highly recommend the sliding-scale therapy available through OpenPath (sessions can become as little as $30/hour). You can access licensed therapists in your area, arrange in-person or virtual appointments, and make each session fit within your budget.

2. Take Breaks

Pausing your creative writing for the day or even the week could be what your mind needs. Research shows regular breaks make people more productive because they utilize other areas of our minds and help us return with fresh energy.

It’s also important to take breaks for your emotional well-being. You may not feel as sucked into your antagonist’s (or protagonist’s) violent, dehumanized state of mind by walking away from your manuscript. Talk with someone you love, watch your favorite show, or go to that farmer’s market you’re always talking about.

It’s easier not to get caught up in negativity when you retain control over it through things like breaks.

3. Don’t Sweat Your Search History

Cops won’t show up at your door if you’re googling which artery pumps the most blood and how long it would take to bleed out if that artery opened. That’s not how the internet works.

There are very few odds that police will need your search history while trying to solve a crime one day. However, if it makes you uncomfortable, look into a VPN and use incognito mode (if you’re on Chrome. Firefox users can use Private Browsing.).

You can also avoid specific internet searches by watching true crime documentaries on a similar crime or reading books about similar cases. Do whatever makes you feel comfortable, especially if you’re writing a long-form manuscript that could take months or years to complete.

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If you’re interested in writing crime fiction, these are a few ways you can get started. Remember, you don’t have to write a perfect first draft. That’s impossible. All you need to do is start creating your world and use tips like these when you need help along the way.

#crime fiction #writing crime fiction #writeblr #writing tips #writing advice #self care for writers #creative writing #writers of tumblr #writing inspiration #writing help #writing resources #writing community

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mysharona1987 · 6 months

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#publishing #books #book covers #crime fiction #lol #art

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secularbakedgoods · 5 months

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New Novelette: "Sebastian Moran Gets Mauled by a Tiger"

Revenge brings black-hat hacker Jay Moriarty and former SAS operator Sebastian Moran together once again, with an egomaniacal real estate developer in their crosshairs. Derek Chapman is obsessed with high society and will do anything to climb the social ladder--which makes him the perfect mark for a confidence game involving a West End producer, a private sex club, and a live Bengal tiger. What could possibly go wrong?

"Sebastian Moran Gets Mauled by a Tiger" is part 2 of The Casefile of Jay Moriarty, which further develops the relationship between my modern-day versions of Moriarty and Sebastian Moran. Also:

You can get "Sebastian Moran Gets Mauled by a Tiger" most places ebooks are sold, or by clicking here.

#original fiction #ebooks #sherlock holmes #queer romance #crime fiction #the casefile of jay moriarty #mormor

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novlr · 18 days

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I used to write historical romance fiction but I want to switch genres and try my hand at something different. Are there any resources you would recommend for writing a gritty crime thriller, or a mystery novel?

I love trying out different genres!

We've got lots of plot templates available in the Reading Room (and if you want to see a specific genre one, do reach out and let us know!). I've put together a mystery/crime thriller template we released today to hopefully help get you started.

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thefugitivesaint · 1 year

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''Mike Shayne Mystery Magazine'', Vol. 46, #11, 1982 Source

#mike shayne mystery magazine #detective magazines #crime fiction #magazine covers #cover art #noir fiction

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characterswithgodsnamesbattle · 4 months

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Tournament 2 : Characters with Demigods' names

Semifinals

Demigods they share a name with :

- Hercules (Hercule is the French language's version), son of the Roman god Jupiter and the mortal Alcmena/Alcmene

- Pyrrha, daughter of the Titan Epimetheus and Pandora, the first human woman, in Greek mythology

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words-after-midnight · 8 months

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Writeblr (re-)Introduction | words-after-midnight

Hi, I'm Nico (he/him)! I'm a 32-year-old Tio'tia:ke (Montreal)-based writer of crime fiction (mostly thrillers), literary fiction, and horror, as well as the occasional poem.

Current WIPs

🌙 LIFE IN BLACK AND WHITE | Psychological thriller

[GIRL ON THE TRAIN x THESE VIOLENT DELIGHTS (Nemerever)] A troubled young man attempts to overcome a dark, growing obsession with his estranged former lover after the twisted relationship that uprooted his life is catastrophically interrupted.

Status: Line edit, preparing to query. Tags: #libaw, #call it midnight (inspo reblogs) WIP intro // Excerpt // Playlist // Moodboard

💀 THE DOTTED LINE | Psychological horror

[A CLOCKWORK ORANGE x SHAWSHANK REDEMPTION] A young inmate nicknamed after an Al Pacino movie navigates the chaotic, dangerous world of a medium security American prison while plotting his escape.

Status: Drafting (slowly and intermittently) Tags: #tdl, #the jungle (inspo reblogs) WIP intro // Playlist // Moodboard (cw: gore)

(More under the cut!)

🔵 SUPERNOVA | Dystopian/Speculative

[FRANKENSTEIN x BREAKING BAD] What if you held the key to the Earth’s salvation… and its potential destruction? An eccentric chemistry professor's PhD students decide to investigate her rumored discovery of a highly dangerous theoretical compound, and inadvertently ignite the spark to an unstoppable chain reaction of passion and pride, power and corruption, and unintended consequences they never could have anticipated.

Status: Pre-production (outline/zero draft) Tags: #sn, #hexa (inspo reblogs) WIP intro

Additional notes

I do not maintain any WIP taglists at this time. You can follow/track my project-specific tags if you want updates on them.

I am open to critique/constructive criticism on any snippets/excerpts I post, for any WIP, unless otherwise specified.

Ask/tag game friendly (but please note that I'm very busy and may take a while to answer)

I'm okay with minors following me, but please be mindful of the fact that my work is written primarily for an adult audience and you will be blocked if you interact with any post tagged #minors DNI.

You should not follow me if you're uncomfortable with fiction that addresses dark (ie. potentially triggering) topics. This being said, I always provide content warnings as needed.

#writeblr #writblr #writeblr intro #writers on tumblr #contemporary fiction #crime fiction #horror #thriller

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belovedviolence · 5 months

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— excerpt from little deaths.

was quite hesitant to share anything i've written of this story but i thought this was half-decent

taglist! @chargoeson @wispy-wallfish (ask to be added or removed)

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trulyunpleasant · 10 months

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“No tengo mucho tiempo, estoy viviendo.”

- Roberto Bolaño, 2666

#klyart #pen and ink #roberto bolaño #2666 #fiction #crime #crime fiction #dark #mexico

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alienejj · 2 months

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“There is no greater mistake in life than seeing things or hearing them at the wrong time. Shakespeare is ruined for most people by having been made to learn it at school; you should see Shakespeare as it was written to be seen, played on the stage. There you can appreciate it quite young, long before you take in the beauty of the words and of the poetry.”

― by Agatha Christie from Agatha Christie: An Autobiography

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mostlysignssomeportents · 2 months

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The Bezzle excerpt (Part II)

Today, I'm bringing you part two of this week's serialized excerpt from The Bezzle, my new Martin Hench high-tech crime revenge thriller:

https://us.macmillan.com/books/9781250865878/thebezzle

Though most of the scams that Hench – a two-fisted forensic accountant specializing in Silicon Valley skullduggery – goes after in The Bezzle have a strong tech component, this excerpt concerns a pre-digital scam: music royalty theft.

This is a subject that I got really deep into when researching and writing 2022's Chokepoint Capitalism – a manifesto for fixing creative labor markets:

https://chokepointcapitalism.com/

My co-author on that book is Rebecca Giblin, who also happens to be one of the world's leading experts in "copyright termination" – the legal right of creative workers to claw back any rights they signed over after 35 years:

https://pluralistic.net/2021/09/26/take-it-back/

This was enshrined in the 1976 Copyright Act, and has largely languished in obscurity since then, though recent years have seen creators of all kinds getting their rights back through termination – the authors of The Babysitters Club and Sweet Valley High Books, Stephen King, and George Clinton, to name a few. The estates of the core team at Marvel Comics, including Stan Lee, just settled a case that might have let them take the rights to all those characters back from Disney:

https://www.thewrap.com/marvel-settles-spiderman-lawsuit-steve-ditko/

Copyright termination is a powerful tonic to the bargaining disparities between creative workers. A creative worker who signs a bad contract at the start of their career can – if they choose – tear that contract up 35 years later and demand a better one.

Turning this into a plot-point in The Bezzle is the kind of thing that I love about this series – the ability to take important, obscure, technical aspects of how the world works and turn them into high-stakes technothriller storylines that bring them to the audience they deserve.

If you signed something away 35 years ago and you want to get it back, try Rights Back, an automated termination of tranfer tool co-developed by Creative Commons and Authors Alliance (whose advisory board I volunteer on):

https://rightsback.org/

All right, onto today's installment. Here's part one, published on Saturday:

https://pluralistic.net/2024/02/17/the-steve-soul-caper/#lead-singer-disease

It was on one of those drives where Stefon learned about copyright termination. It was 2011, and NPR was doing a story on the 1976 Copyright Act, passed the same year that was on the bottom of the document Chuy forged.

Under the ’76 act, artists acquired a “termination right”— that is, the power to cancel any copyright assignment after thirty-five years, even if they signed a contract promising to sign away their rights forever and a day (or until the copyright ran out, which was nearly the same thing).

Listening to a smart, assured lady law professor from UC Berkeley explaining how this termination thing worked, Stefon got a wild idea. He pulled over and found a stub of a pencil and the back of a parking-ticket envelope and wrote down the professor’s name when it was repeated at the end of the program. The next day he went to the Inglewood Public Library and got a reference librarian to teach him how to look up a UC Berkeley email address and he sent an email to the professor asking how he could terminate his copyright assignment.

He was pretty sure she wasn’t going to answer him, but she did, in less than a day. He got the email on his son’s smartphone and the boy helped him send a reply asking if he could call her. One thing led to another and two weeks later, he’d filed the paperwork with the U.S. Copyright Office, along with a check for one hundred dollars.

Time passed, and Stefon mostly forgot about his paperwork adventure with the Copyright Office, though every now and again he’d remember, think about that hundred dollars, and shake his head. Then, nearly a year later, there it was, in his mailbox: a letter saying that his copyright assignment had been canceled and his copyrights were his again. There was also a copy of a letter that had been sent to Chuy, explaining the same thing.

Stefon knew a lawyer—well, almost a lawyer, an ex–trumpet player who became a paralegal after one time subbing for Sly Stone’s usual guy, and then never getting another gig that good. He invited Jamal over for dinner and cooked his best pot roast and served it with good whiskey and then Jamal agreed to send a letter to Inglewood Jams, informing them that Chuy no longer controlled his copyrights and they had to deal with him direct from now on.

Stefon hand-delivered the letter the next day, wearing his good suit for reasons he couldn’t explain. The receptionist took it without a blink. He waited.

“Thank you,” she said, pointedly, glancing at the door.

“I can wait,” he said.

“For what?” She reminded him of his boy’s girlfriend, a sophomore a year younger than him. Both women projected a fierce message that they were done with everyone’s shit, especially shit from men, especially old men. He chose his words carefully.

“I don’t know, honestly.” He smiled shyly. He was a good-looking man, still. That smile had once beamed out of televisions all over America, from the Soul Train stage. “But ma’am, begging your pardon, that letter is about my music, which you all sell here. You sell a lot of it, and I want to talk that over with whoever is in charge of that business.”

She let down her guard by one minute increment. “You’ll want Mr. Gounder,” she said. “He’s not in today. Give me your phone number, I’ll have him call.”

He did, but Mr. Gounder didn’t call. He called back two days later, and the day after that, and the following Monday, and then he went back to the office. The receptionist who reminded him of his son’s girlfriend gave him a shocked look.

“Hello,” he said, and tried out that shy smile. “I wonder if I might see that Mr. Gounder.”

She grew visibly uncomfortable. “Mr. Gounder isn’t in today,” she lied. “I see,” he said. “Will he be in tomorrow?”

“No,” she said.

“The day after?”

“No.” Softer.

“Is that Mr. Gounder of yours ever coming in?”

She sighed. “Mr. Gounder doesn’t want to speak with you, I’m sorry.”

The smile hadn’t worked, so he switched to the look he used to give his bandmates when they wouldn’t cooperate. “Maybe someone can tell me why?”

A door behind her had been open a crack; now it swung wide and a young man came out. He looked Hispanic, with a sharp fade and flashy sneakers, but he didn’t talk like a club kid or a hood rat—he sounded like a USC law student.

“Sir, if you have a claim you’d like Mr. Gounder to engage with, please have your attorney contact him directly.”

Stefon looked this kid up and down and up, tried and failed to catch the receptionist’s eye, and said, “Maybe I can talk this over with you. Are you someone in charge around here?”

“I’m Xavier Perez. I’m vice president for catalog development here. I don’t deal with legal claims, though. That’s strictly Mr. Gounder’s job. Please have your attorney put your query in writing and Mr. Gounder will be in touch as soon as is feasible.”

“I did have a lawyer write him a letter,” Stefon said. “I gave it to this young woman. Mr. Gounder hasn’t been in touch.”

Perez looked at the receptionist. “Did you receive a letter from this gentleman?”

She nodded, still not meeting Stefon’s eye. “I gave it to Mr. Gounder last week.”

Perez grinned, showing a gold tooth, and then, in his white, white voice, said, “There you have it. I’m sure Mr. Gounder will get back in touch with your counsel soon. Thank you for coming in today, Mr.—”

“Stefon Magner.” Stefon waited a moment, then said, for the first time in many years, “I used to perform under Steve Soul, though.”

Perez nodded briskly. He’d known that. “Nice to meet you, Mr. Magner.” Without waiting for a reply, he disappeared back into his office.

ETA: Here's part three!

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https://pluralistic.net/2024/02/19/crad-kilodney-was-an-outlier/#copyright-termination

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