Do We Hate Women This Much?


My wife and I don’t have cable.

I view this as a good thing because gone are the nights of watching something just because it’s on.  (Oh, a 36-hour marathon of Law and Order, Extra Sassy Unit?  SCORE.)  If we want to watch something, we have to seek it out.  But it’s also a bad thing, because there are times when there is a serious dearth of decent entertainment to be had, and that time is the summer time.

Anyway, if you, like we do, get your programming on a streaming device, you know the glory of the commercials that you see five, six, twenty times in an evening.  The computer tailors ads to your interests and funnels them into your eyeholes, banking I suppose on the law of averages; if I see the ad enough times, I’ll just go ahead and buy / watch / ingest the damn thing.  One thing I won’t ingest, however, is the show on the advertisements of the last couple of weeks, Celebrity Wife Swap.

A brief sidebar.  As a creative type, I think — and it may be wishful thinking, I’ll grant you, but that won’t stop me thinking it — that Reality TV may have run its course.  It’ll kick around and thrash in its grave for a little while longer, and we’re certainly not done with the likes of rinkydink shows like Duck Dynasty or Pawn Stars, but the days of Reality dominating the discussion are over.  Recent ratings of powerhouses like American Idol and others tell me that.  The fact that a bizarre, quirky, what-seems-like-it-should-be-a-niche-diversion show like The Big Bang Theory can run the show when it’s airing tells me that.  But that doesn’t stop the Reality ship from setting out to sea again, like the Exxon Valdez transporting its load of hey-you-need-this-stuff-for-real on a crash course with your unsuspecting occipital lobes.

/soapbox on

I won’t be watching Celebrity Wife Swap, in the first place because it’s just another Reality show putting “ordinary” people in “everyday” situations and I have real fargoing life if I want to see that.  But this show has really struck a nerve with me, and I’ve not even watched an episode (I don’t even know if it’s a first run or if it’s back for another “unbelievable” season).  To be clear, it’s struck two nerves.  One: can our entertainment-obsessed society delegitimize women ANY MORE?  Two (and it’s a far lesser concern than the first point, but it still irks): it seems on the surface like the worst kind of celebrity worship extant.

Let’s start with marginalizing women.  It’s not bad enough that our “great” nation’s highest court has just placed the rights of intangible corporations above the rights of women, or that women’s roles in narrative entertainment are always viewed and evaluated through a male gaze, but now for your evening entertainment, we have Wife Swap, a show whose very title is working to shoot Feminism in the kneecaps in between adverts for spaghetti sauce and overpriced luxury sedans.  If you’re a regular reader of the blarg here, you know I’m an English teacher, and as an English teacher, I tend to fixate on language.  The way things are said matters.  Think about the LANGUAGE OF THE TITLE OF THIS SHOW.  Celebrity Wife Swap.  “Swap.”  What do you swap?  Property, first and foremost.  The searing I-can-hardly-call-it-subtext-with-a-straight-face subtext of the title says that YOUR WIFE IS YOUR PROPERTY.  Brilliant, I knew there was a reason I married my wife.  Now I remember, it’s because I got sixteen acres of land and a couple of donkeys into the deal.  Wait, no I didn’t, because it isn’t THE FARGOING DARK AGES ANYMORE.  The last time people were considered property in this country, I’m pretty sure there was a pretty significant disagreement over it, and that disagreement reached the conclusion that hey, no, people aren’t property.

To dig further into the entrails of this fetid carcass of a show title, what sort of property do you “swap?”  The kind of property that has no practical value to you anymore.  The toys that you’re done playing with.  The intrinsically worthless “collector’s items” that you’re hoarding for no reason other than that they’re “exclusive” or “limited edition.”  “Swap” is a word most at home between preteen boys and their baseball cards.  What’s that?  Dated reference?  Sharknado.  Um… Pokemon cards?  No?  Damn… look, the point is, you swap something because you don’t want it anymore.  So your wife is your property, and you’re done playing with her so your neighbor can have her for a while.  Brilliant, ABC.  I mean, the housewives that are watching this steaming pile of horse turds are probably past the point of redemption, so I’m not worried about them, but what about the next generation of women in this country?  That’s the message we want to send on NETWORK TV, of all things?  It’d be one thing if an obscure cable network were showing it to garner some viewers, but this is a broadcast network.  We have to do better.

The other point, here, is much more of a personal one, and it’s one of celebrity worship, which is one of the most useless forms of idleness and of opiating the masses that I’m aware of.  I understand a fascination with celebrities… to a point.  They star in your movies and TV shows, they run the touchdowns, they lounge around inheriting hotel fortunes.  Bully for them.  By all means, watch the celebrities in your movies and TV shows, watch them run the touchdowns, watch them do whatever the likes of Paris Hilton and Kim Kardashian do WHEN THEY’RE DOING THE THING FOR WHICH THEY ARE FAMOUS.  As soon as you start wasting your time worrying about what Ryan Gosling has going on in his personal life, you’re essentially saying that your own life is less interesting to you than the life of somebody you will never meet.  Ultimately, celebrities are just people.  On one level or another, their lives are as mundane as yours and mine.  When we (and by “we” I mean people who are not me, because I don’t go in for that sharknado) live vicariously through celebrity, we give up a bit of ourselves, and that is really, really sad.

So what’s the point?  The point is (and I’m conjecturing, here, because again, I’ve not seen an episode and I don’t plan to) that Celebrity Wife Swap is going to show you some of your favorite “celebrities” and put them in the ridiculous situation of stepping into another family’s life for a few days for the purpose of your amusement.  This is idiotic thinking of the highest order.  One family’s life is not like another’s, OF COURSE there will be conflict and misunderstanding and argument about what should be done.  It doesn’t take celebrity to make that situation any more compelling (and here I say compelling not in the sense that it’s actually compelling but in the sense that the network execs think we’ll just HAVE TO WATCH IT).  What, then, is wrong with putting celebrities in this situation?  Because it’s just an iteration of knocking down the other guy to make yourself feel better about your life, which is lazy and lame and sad.  “Oh, look at how silly *insert celebrity name* looks trying to deal with *other celebrity name*’s wife, MY LIFE IS SO MUCH BETTER THAN THAT.  God, I feel good about myself.”  No.  Don’t.  Begrudging somebody their success is just being selfish.

You might argue that the show is just a bit of frivolous fun, that I read too much into it.  Maybe so, but if you want an idea of how screwed up a society is, look at what they do for fun.  Roman gladiator arenas, anybody?  Greek debauched wine-fueled orgies?  TV is possibly our nation’s greatest escape, and the things we PUT on TV and the things we WATCH on TV say a hell of a lot about us.  In short, if you’re watching the show, you should be ashamed, because you’re telling the network that this is the kind of thing you agree with.  That is, you agree with trading women like cattle and with watching the lives of other people rather than living your own.

/soapbox off

Interview With a Character


I was browsing around today, thinking about my novel and what I’m going to do with it, and I saw that my spirit guide, Chuck Wendig, had written a little piece about characters and how they drive action.  It’s perfectly obvious advice when you think about it, and it’s a model that I tried to adhere to in writing my first draft, but I wonder if I actually came as close to the mark as I believe I did.

To help me puzzle through that, I invited one of my characters here to talk it over a little bit.  Everybody, please give a nice, warm welcome to the fictional, frazzled, Andrew Remington.

(Andy enters to canned studio applause.)

Me: Andy, hi, it’s great to see you.

Andy: It’s nice to be seen.

Me: I’m really excited to have you here today.

Andy:  Well, I’m happy to be here.  You’ve had me through the wringer over the past few months, haven’t you?  It’s nice to have a bit of a break.

Me: True.  That’s my job as storyteller, you know, to give you a hard time.  No hard feelings.

Andy:  If you say so.

Me: Okay.  Let’s get right down to it, because I’m dying to pick your brain a little bit, you know?  Crack open the meaty bits and see what makes you tick.

Andy:  That’s a metaphor, right?

Me:  Yeah, I’ve been working on those.

Andy:  Okay, because I remember when you wrote about dropping the piano on that guy, and all of us in the book thought that was going to be a metaphor, but…

Me:  That one escalated quickly.

Andy:  Dry cleaning bills were horrendous.

Me:  That scene is probably not going to survive the first edit, if it makes you feel any better.

Andy:  A little.

Me:  Right.  So.  You’re a character in my book.  The first draft is done, your story is told for the time being.  What’s it like being you?

Andy:  Uhh, I’d have to say it’s a bit like living inside a ping-pong ball.

Me:  (Tapping note cards on the desk.)  Wow.  Um.  Wasn’t really expecting that.  A ping pong ball.  How do you mean?

Andy:  You picture a ping-pong ball, right?  Tiny, white.  Opaque.  Blows in the wind.  Yeah?  Say you could live inside of it, what would you see?

Me:  (Shrugs.)

Andy:  A whole lot of nothing, right?  You’ve basically just got the light and shadow outside of the ball and then somebody whacks you with a paddle and off you go, back and forth, over a net that you can’t really see, and you’re banging off the walls and knocking clocks over–

Me:  Like in the Great Gatsby.

Andy:  …yeah, not like that, really.  More in a chaotic hurricane of who-the-hell-knows-what’s-going-to-happen-next.

Me:  But that’s a good thing, right?  I mean, I’m supposed to keep the audience guessing to some extent, and that means keeping you guessing too, doesn’t it?

Andy:  I can see where yo’d think that, but let’s stick to the ping-pong ball.

Me:  Okay.

Andy:  The ball just bounces around from one side of the table to the other.  It has no will, it has no motivation.  It only goes where it’s told.

Me:  Uh huh.

Andy:  And, if you’re living inside of the ball, then it’s doubly so.  There aren’t even any windows to look out of to see where you’re headed, if you’re going in the right direction, or even if you’re making progress.  All you do is hang on until you get whacked by another paddle.

Me:  I see.

Andy:  If anything, living inside the ball, you’re completely at the mercy of the two giant dudes with the paddles.

Me:  Wait, there are giants now?

Andy:  Jesus, dude, stick with the metaphor.  Not actual giants.

Me:  Just testing you.

Andy:  Right.  (Gives me a serious side-eye.)  So, the … perfectly ordinary non-giants with the paddles.  They can put spin on the ball, they can slam it, spike it…

Me: I think those are volleyball terms, actually.

Andy:  Do you want to hear this or not?

Me:  Sorry.  But you’re saying you live inside the ball, so you don’t drive the action?

Andy:  It doesn’t feel like it.  It feels like the villains in the story, you know, they’re the ones with the paddles, just smacking the rest of us around the whole time.

Me:  Uh huh.

Andy:  And I understand that as the protagonists, we’re supposed to take some hard knocks.  I get that.  But all the same, it doesn’t feel right for us — and by us I especially mean me — to get smacked around for the entire story.

Me:  I see.

Andy:  Give me a turn at the paddle, you know what I mean?

Me:  I mean, I have to disagree with you.  You’re the one who makes an inadvertent call to a muse to set the whole thing in motion.  You’re the one working against a deadline for the whole story.  You’re the one who finally, ultimately, overcomes the whole … well, let’s not spoil it for anybody reading, but the whole series of THINGS, right?

Andy:  You’re not wrong, but… look.  You’re right.  I do things in the story.  No question about that, okay?  But let’s just take a few examples.  I mean, the gangsters jump out and take the rest of us hostage… who bails us out?  It ain’t me.

Me:  No, you’re right.  That was —

Andy:  Then the whole business with Harold and the … erm, how can I say this without uh…

Me:  The theft?

Andy:  Yes, the theft.  He steals a THING.  It’s gone.  He’s gone.  Who finds him so we can continue the story?  It ain’t me.

Me:  I see what you’re saying.  That was the other —

Andy:  And then, finally, we go to the big showdown, yeah?  And Anthony and Julia are running.  They’re about to escape.  But then they get stopped.  By whom?  It ain’t —

Me:  You, yeah, no, you’re right.

Andy:  You see what I mean?

Me:  I think so.

Andy:  Do I have agency, is what I’m driving at.  I mean, pardon the pun, “driving,” but it’s not like I’m driving the story, it’s like I’m along for the ride.

Me:  But those moments you’re talking about, that’s where your supporting characters get a chance to shine, right?  Like, you’re driving the bus through a post-apocalyptic burned out city, right?  And they’re leaning out the windows with RPGs and machine guns shooting off the zombies and blowing up the obstacles in your path.

Andy: Okay, I see that.  That’s a nice image, by the way.

Me:  You liked that?

Andy:  I did.  Sounds like a good idea for a story, actually.

Me:  Yeah?

Andy:  Call it “Murder Bus” or something.  But, to get back on track, honestly, you’re not wrong.  And I see your point.  But I feel like there are moments — and, maybe I’m being selfish here, but I do mean momentS, plural — where, you know, it should be me with the rocket launcher.

Me:  I see.

Andy:  Smeared with the blood and the smoke and the entrails of the enemy, right?

Me:  Entrails?

Andy:  Metaphorical entrails.

Me:  Uh huh.

Andy:  At least one or two moments like that, where I get to shine.  I mean, far be it from me to tell you how to write the story.  And — I can say this, because I’ve lived it, now — I think it’s a pretty good story.

Me:  Thanks.

Andy:  It works out all right for me in the end, after all.

Me:  Hey, spoilers.

Andy:  Oh, come on.  It’s a comedy, it wasn’t going to end with a funeral or anything.

Me:  Or is it?  (We share a conspiratorial look.)  No, it doesn’t end that way.

Andy:  So yeah, it’s a good story.  I just feel like … man, how to say it?  I shouldn’t be a bigger part, exactly. You’ve got me on virtually half the pages.

Me:  Probably more.

Andy:  Probably more, right.  I’m tired, you know?  So not a bigger part, but maybe a more pivotal part.  That’s what I’m looking for.

Me:  Okay.

Andy:  If the story’s a big wagon wheel, I should be the axle it turns on.

Me:  Right, no, that makes sense.

Andy:  Just a suggestion.

Me:  So tell me, what’s it like working with the muse of comedy?

Andy:  Oh, she’s great, you know?  Really, um… what’s the word…

Me:  Funny?

Andy:  I was going to say inspirational, but that would be a little bit cheesy, wouldn’t it?

Me:  A bit on the nose.

Andy:  She’s funny.  Very funny.  A quick suggestion, though?

Me:  Oh, sure?

Andy:  Maybe there’s room in the story for a scene where we, um… (leans over and whispers in my ear)

Me:  (whispering back) It’s not really that kind of book, though.

Andy:  (Shrugs.)  It was worth a try.

Me:  Well, Andy, this has been enlightening, I’ve really enjoyed having you on the blarg.

Andy:  The what?

Me:  The blarg.  It’s a… it’s a kind of a joke.  You know.  Blog.  But then it’s a blog, so it’s kind of… argh.  So.  Blarg.

Andy:  Is that supposed to be funny?

Me:  (sighing) I don’t know.  (Stands.)  It’s been a pleasure.

Andy:  Yeah, likewise.

Me:  I’ll see you in a few weeks when I start the edit.

Andy:  I’ll bring the lube.

Me:  Andrew Remington, everybody!

(Canned applause.  Slow fade.)

Advice for Finally Getting Around to Writing That Novel You’ve Always Meant to Write


Writing a novel is something I’ve told myself for years I would do someday.  In March of this year, I finally decided (for whatever reason) that this was the year, the time was now, and I was going to write the damn thing.  This past week, I finished the first draft. Now, writers of all walks will tell you that this is only the beginning, and they’re right.  But you will also learn very quickly that the world is littered with the corpses of those who wanted to try writing a novel and came up short before they finished their first draft, their first act, their first chapter, their first sentence.  I’m not an expert, but I’ve made it this far.  I picked up a few things along the way, and if you’re thinking of writing a novel, or starting to write a novel, or are bogged down and “blocked” trying to write your novel, maybe some of what I picked up will help you. Note that when I say “novel” I mean whatever your project may happen to be, be it screenplay, novel, poem, limerick, dirty joke.  And when I say “you” I mean “me”.  Let’s be honest, my entire blarg is an exercise in narcissism. Here, then, are 18 points of Dubious Advice (because nice round numbers are way too establishment for me, man) for Writing Your First Draft of Your First Novel.Read More »

Stop Upgrading and Start Improving


Why is tech moving backwards?

Okay, obviously most tech is moving forwards at astronomical speeds.  You compare technological advances over the last fifty years with technological advances over the previous several millenia and it’s not even worth starting the stopwatch.  We are making newer, better, faster gadgets faster than we can figure out what to do with the old ones.  It’s a good thing, as tech magazines and websites and tech advertisers will be the first to tell you.

But then you look at something like Google Glass.  Here’s the height of technology being developed by a giant of the industry, but the idea of strapping a computer to your face didn’t get shot down in the spitballing phase?  We’re a country where automobile accidents are one of the leading causes of death, and Google wants to enable Mikey McMerkerson to livestream the NFL draft or the latest episode of Nasty Housewives of Nashville or whatever else while he’s cruising down the freeway at ninety miles per hour?  Sure, right, they’ll say that the technology is not meant to be used while driving, and that’s fantastic and all, but their little admonition makes about as much difference as that “No U-Turn” sign in front of my neighborhood.  Sharknado, everybody and their brother knows that texting and driving is one of the most efficient ways to accordion your Corolla, but that doesn’t stop us from doing it.  I don’t even have to tell you to take a look around you at the next traffic light you come to, or to sneak a peek at the land cruiser zipping past you on the freeway.  You already know what those drivers are doing.  You put that technology out there, it’s going to be misused, and if Americans have demonstrated one thing through the outbreak of obesity and a movement that thinks eliminating vaccinations is a good idea, it’s that we need protecting from our fargoing selves.  Creating the next, newest, best bit of technology with the brightest flashing lights and the fastest clicking clickers and the longest electrical dongles is no longer worth doing for its own sake.  Comes a point when technology does not need significant improvement, and we need to stop pretending that it does.

Case in point, I had two bits of technology catastrophically fail on me today, one a fairly indispensable staple, the other a trifle, but both together have my blood boiling.  (Yeah, yeah, first world problems, whatever.)

First, the phone.  I’ll preface that about a year ago, my phone dies and it was under warranty and they replaced it.  Okay, nothing’s perfect in this world, the warranty worked, it was all good.  (For the curious, I took the phone on a long run in the summertime, and when I got back, the phone’s display didn’t want to work anymore.  Since it’s a shiny smartphone that only functions through its screen, the phone had become a sharknadoey electrical brick.)  Today, I’m using the phone to catch up on some scores from yesterday’s sporting matches and look at some facebook pictures — YOU KNOW, REALLY TAXING STUFF THAT PHONES ARE NOT DESIGNED TO HANDLE — and it just goes dark.  Total failure, identical to the one I had a year ago.  I fiddle and tinker, but it’s not coming back.  I call up the dealer and I’m informed that the product is out of warranty, but would I like to sign up for their new plan and get a new smartphone every 18 months for free today?  It will only cost an extra $20-30 per month depending on the model I choose.  Yeah, no thanks, I’d prefer it if you’d a) stand by the product that you manufacture and distribute and replace it, given that there is obviously something wrong with that model, or b) manufacture a decent goldfingered product in the first place that doesn’t crap out at, what, the nine-month mark?  But I’m getting onto the cell phone companies now, and that’s not my focus.  My focus is the phone.

I’m of that magical generation that saw the first widespread use of cellphones during my formative years.  Hell, I’m of that generation where the cool kids had pagers in high school, so the cell phones of today are nothing short of monkey-math miracles.

But are they really?  The first phone I had was one of those Nokia jobs that everybody born before 1995 recognizes, the little gray brick with a keypad and the calculator display.  It was indestructible, it could run for seven and a half days without needing a charge, it played the best game ever (MOTHERFARGOING SNAKE AM I RIGHT).  My phone today runs for about 16 hours before it needs charging — that’s if I’m not using it much during the day — and it breaks when the East wind blows, apparently.  THIS IS AN UPGRADE.  And yeah, it’ll check my e-mail and my facebook and let me take pictures and post my dinner to instagram, and that’s nice, but THAT’S NOT WHAT A PHONE IS DESIGNED TO DO.  I have been on the smartphone train for about a year and a half, and I am starting to wonder if this is the station where I get off.

The other bit of technology was my tablet, a Nexus 7 which today decided that life was too hard and pooped itself in a cloud of unintelligible technicolor dots and squiggles run across its display.  Again, I was using it to — brace yourself — browse the net at the time, which, I’m sorry, should hardly force it to break a sweat, let alone overload its tiny little robot brain, but there you have it.  The tablet crapping out isn’t the pulled hamstring that the phone is, but it’s an annoyance, and happening as it did on the same day — in fact in the same morning — it felt downright conspiratorial.  And again, it makes me wonder how much I need the tablet to do things that, in all fairness, I can do on the laptop with slightly less portability and convenience.

I love technology, I really do.  But it feels like more and more it’s designed to be disposable, and that’s a thing which just strikes me as completely backward.  We don’t need a brand new iPhone model to drop every year (and for that matter, we damn sure don’t need to be camping out overnight for days to get it — what is wrong with us [just to clarify, by us I mean people who actually do that crap, which does not and never will include me]).  What we need is technology that enriches our lives and that can be depended upon.  Like that goldfingered little gray brick of a phone.  How I miss her sometimes.

Off on the Wrong Tooth


This post is part of SoCS: http://lindaghill.wordpress.com/2014/07/04/the-friday-reminder-and-prompt-for-socs-july-514/

Here’s something new: a flash fiction with zero editing.  I don’t think this is an experiment I’ll recreate.  Interestingly, not my first flash that centers on a job interview.  The casual observer might read something into that, but I would remind you that things don’t always have to mean things.

Anyway…

As I said, zero editing on this one, just let it flow from top to bottom.  So please know there are things that I would change now that it’s done!

 

Off on the Wrong Tooth

The subtle aroma of a dead body was one you never quite got used to, but Penny was making a good effort.

The drawers of the morgue each concealed one victim after another of the person they were calling “The Dentist” in a really unfortunate blow for her profession, one which was already subject to more irrational fears than Penny felt was particularly fair.  For a woman of her stature, she’d been shocked to find grown men terrified to sit in her chair, yet they had turned out to be the norm.  After fifteen years, she’d gotten used to people being terrified of her.  She could make a routine cleaning seem as if it were the only thing standing between you and a total overnight rotting from head to toe, but only did so on those rare occasions.  Most of the time she was actually very pleasant, and tried to communicate it by wearing scrubs dotted with smiley faces or smiling puppies.

Today, though, on this particular consult, she was all business: gray trousers, gray blazer, white blouse, black-rimmed spectacles.  Penny was here to prove a point, but appearances must be maintained.  These were dead people, after all.  Using the tips of her fingers to pull the dead man’s chin down, she peered into his vacuous maw.  Vacuous wasn’t a word she used to describe mouths, not usually, but the complete absence of teeth had an effect upon her.  As if she had returned home and found all of her furniture moved a few inches to the left, the absence of teeth made her feel violated somehow.

Still, she had nothing useful to say to the faces that surrounded her, a fact that made her feel sillier and sillier the longer she kept it to herself.  The teeth were gone, yes, and some of the victims showed signs of gum decay and general poor oral hygiene, while others might have been impressive specimens, had they of course had their teeth in the proper place.  She snapped off her gloves and pushed her headlamp back over her hair.

“Expert removal,” she said, “though the tools were crude.  Probably automotive pliers, as you can see from the scarring on the gums.  No anaesthetic, either.”  She pointed at the victim’s mouth as if this would hold some meaning for the detectives.

“Automotive pliers?” the shorter man asked her.

“Sure,” Penny replied, shrugging her shoulders.  She couldn’t work out what it meant and she hoped to god they would pick up on that.  “About a five inch, from the look of it.”

The detectives shared a shrewd glance.

“What?”

The taller one raised a skeptical eyebrow.  “How’d you know that?”

Penny sighed.  Explaining the obvious was exhausting.  “The span of the bruise here.  Also, anything smaller and you can’t get enough leverage.  Anything bigger and you can’t get the proper grip.”

They frowned and nodded and wrote notes on their little pads.  That information hadn’t been in the news; asking her had been a test.

Their jotting infuriated her.  “Guys,” she said, “For the thirtieth time.  I’m a dentist, not a detective.”

The short detective shrugged and stuffed his pad in his pocket.  “Awfully observant for a dentist.”

The taller one nodded.  “We all have to moonlight.  PI jobs don’t pay the bills, I get it.”

She ran a hand through her hair, tugging her headlamp off and tossing it on the exam table by the dead man’s foot.  “You got the wrong number when you called my office.  Just like the dozen times before this time.”

“Not a lot of Penelope Krelbornes in the book,” the shorter one said.  “Hard mistake to make.”

Yet they’d made it, and kept making it.  She’d rebuffed them so many times it was getting comical; she had finally agreed to consult on a case so that she could convince them she was Penny Krelborne, DDS, and not Penny Krelborne, PI.  How was she to know that this would be the one case she could solve?

“We’ve got a list of suspects,” the taller one said.  “Anything else you can tell us?”

Penelope threw her hands up.  “Jesus Christ, guys.  I don’t know.  The one with the worst teeth?”  She collected her bag and stormed out.  And they didn’t call her again.  Until they caught The Dentist and called her up to give her an award for meritorious service.

**

“And that,” Penny finished, doing her best to mute her pride, “is how I accidentally caught a serial killer.”

The interviewer narrowed his eyes at her, pushing his glasses up the bridge of his nose in a gesture that made her think he might have the kind of grip strength to strangle somebody.  She didn’t think he was violent, that was just the way she thought now.  He cleared his throat.  “But you do still practice, right?”

Penny bit the inside of her cheek.  All her credentials, an incidental murder solved, and it still wasn’t enough for this man.  Were women ever going to get a fair shake?

“Enough to tell that you need a new crown on your lower lateral incisor.”

He blinked, and removed his glasses.  “You really solved that case?”

With great resignation, she nodded.

He shrugged.  “You’re hired.”