Gypsy’s Kiss: Silky

Gypsy's KissA prominent figure in Gypsy’s life is Silky, the shady strip club owner who was a largely unseen presence in “Roofies.” Once upon a time, Silky paid Gypsy to get naked for his customers, She could, of course, earn a little more by doing more for said customers in the private rooms. Being a high-priced call girl during this phase of her career as a sex worker, she didn’t need the money from servicing some sweaty strip club patron in a backroom, particularly since it’s too easy to get busted.

But the events of “Roofies,” where Gypsy uses herself as bait to take out a more predatory club patron, cost Silky a lot of money. Kepler comes out and tells him that he and Gypsy probably saved his business by getting a couple of bartenders arrested for selling roofies and getting rid of someone who could harm his girls. His workers, thinks Kepler. His product, thinks Silky.

But it’s pretty obvious from his first interacting with Kepler in Gypsy’s Kiss that Silky is a narcissist. To him, the bust that sent sexual predator Harry Long to prison was a slap in the face. Ever the paternalist, Silky thinks he was doing Gypsy a favor by hiring her. How, he asks, could Gypsy betray him like that. And never mind that he fired her. He was there for her?

Of course, it looks silly from any sane person’s point of view. What happens to Gypsy, to one of the suspects, and eventually to Kepler is not the work of a stable mind. Of all those with a motive to harm Gypsy, Silky may be the least stable of them all.

Buy Gypsy’s Kiss now at Amazon!

Gypsy’s Kiss: Gypsy

Gypsy's KissThe central character in Gypsy’s Kiss is one Geri Lincoln, aka Gypsy, a former hooker and stripper and now a high-priced call girl. We first met her in “Roofies,” where she helps Nick Kepler entrap a sexual predator stalking strippers along Cleveland’s seedy Brook Park Road. Frustrated with all the obstacles preventing Nick from taking the man down, she sets a trap and offers herself up as bait to catch him in the act. She as just as tough as, or perhaps even tougher than, Nick himself.

I originally conceived of Gypsy as a supporting character in “Roofies,” when the story was called “Harry Long.” I made her black to hearken back to Nick’s original girlfriend in the series, Margo, letting her tease Nick a little bit without any real meaning. As the story went through several iterations, including some hard edits by Thrilling Detective editor Kevin Burton Smith, Gypsy moved to the center of the story.

Given that Gypsy was already a high-priced call girl when we first meet her, she automatically brings a requisite amount of sexual tension. Nick knows he could have her for a price, though he suspects he could have her simply by dropping by her place.

Over time, I started to suspect Gypsy had more feelings for Nick than a sense of loyalty for protecting her and helping her chart a path out of her life of sexual servitude. When I decided to explore this, I wrote a short story called “Gypsy’s Kiss,” where the idea was clear. The execution came off as a poorly written sex fantasy. In reality, there had to be a reason Gypsy not only felt loyal enough to Nick to want him as her last client but a reason she would risk her own life to help him. So I went in a bit deeper than a 4000 word short story could explore.

As I began to write, it became clear that Nick and Gypsy’s history was much more complex than I’d depicted. When they meet, she’s clearly a crack whore while Nick is a suburban police officer. They get into a physical confrontation wherein she pulls a knife and he disarms her. Where the relationship truly begins is when Nick simply tosses the weapon aside, walks away, and says, “You dropped your knife..” Rather than attacking him, she gets into his cruiser and tells him all about a suspect he’s looking for.

She takes a bullet for him. He puts her in touch with a friend running a sober house and gets her off heroin. She sacrifices her very body to catch a predator, and Nick beats said predator into submission before he can do much harm. Nick appreciates loyalty, but either ignores any feelings he might have developed for her or is oblivious to her attraction to him

So there is enough there already for Nick to risk life and limb to help her make that final move out of the sex trade forever. But Gypsy sees Nick as something more than a man who treated her as something other than a disposable plaything. Taking a bullet for him has made him protective of her. He asks little in return beyond their previous arrangement. It’s not hard for a girl to fall in love with someone who protects her and helps her without demanding anything back.

But in many ways, Gypsy is so much stronger than Nick. She’s been hurt and abused more than he has, and her trust is not easily earned.

Gypsy’s Kiss: Nick Kepler

Gypsy's KissSo Gypsy’s Kiss is the last Nick Kepler story ever. Right?

Well, a wise man once said, “Never say never.” (It was Sean Connery, but that was a really bad Bond movie.) Still, this almost was literally the end of Nick.

Right after I finished Bad Religion, when I thought Second Hand Goods might still be published, I sketched out an outline for a new Kepler novel called Suicide Solution, one that saw Nick investigating the wrong doings around an abandoned amusement park. It’s a premise I really want to revisit, but it may end up being something more along the lines of Road Rules if I do it. But the publisher folded. I went off to do other things, and the outline sat on the hard drive ignored and neglected.

Then all the Kepler novels and existing short stories came out via Kindle and CreateSpace. Boom. Done. Could we please get back to trad pubbing where a crime writer belongs? (Note: YMMV.) Well…

I had just redrafted Holland Bay and sent it off to a pal for editing. I finished Dick’s science fiction novel. I wanted to do something else long. So I pulled out the outline to Suicide Solution and…

Nick wasn’t talking to me. He barely talked to me in a short story entitled “Gypsy’s Kiss,” which I’d felt was a bit rushed. And I looked at the outline. It opened with a scene where Nick and his best friend from high school, a girl named Janine, had sneaked into the abandoned amusement park on their prom night. They had a “virgin suicide” pact in that, if neither of them had lost their virginity by the end of their last year at high school, they would do what sexually compatible friends could to solve that problem. These are teenagers. I did not say they were smart. In any event, they are about to do the deed when an arsonist sets the building on fire with them in the basement. They barely escape and avoid getting questioned by a deputy by faking the deed in the backseat of the car. “What? Us? No, officer. Please don’t tell our parents we were too busy deflowering each other to see anything.” Again, I did not say they were smart.

Well, this ended up being another story where Nick mopes about his life, ends up sleeping with his client, and Elaine has trouble deciding if she wants to stay married or be with Nick. I had no interest in writing that.

But “Gypsy’s Kiss”?

I liked the premise, but the execution made it come off as male wish fulfillment. Instead, I wanted it to be a struggle for Nick to actively avoid realizing that this call girl who’d saved his life might have genuine feelings for him. He’s in a weird place following Bad Religion. He’s lost his office. Elaine’s marriage is crumbling, but she seems to only want Nick to be available, not committed. And the business is dying. And here is Gypsy, who is escaping her life of being a plaything for hire. She is free of heroin and ready to start a new life with the money she’s invested. She is also very grateful to Nick.

Nick needs closure. He needs to do something about his agency. He needs to tell Elaine to make up her mind already. And he needs to get out of his rut. For all his problems, it seems like Nick doesn’t even care about his work anymore. He only gets worked up when Gypsy is attacked, and then he does the job for free. Less than free. He rents a friend’s summer cottage out in Lake Erie for a month, pays to go out to that island when access is difficult and expensive. He drives all over Northern Ohio without thinking about mileage or fuel or time. All he cares about is the woman who once took a bullet for him.

But this story defines Nick in a way the short stories and the novels do not. It happens in a scene recounting how he and Gypsy met. Nick was a suburban police officer and sees her come out of an apartment after he fails to find a suspect at home. They have a confrontation where she tries to stab him. Nick decides to try kindness instead of handcuffs after disarming her. He tells her if she wants to talk to him about the suspect, she can stroll over to his car where he’ll be doing paperwork. Dropping her weapon, he tells her, “You dropped your knife.” Gypsy still has that knife, though now it’s in a frame over her mantle.

I almost killed Nick off in this one. Then Jennette Marie Powell convinced me that would be telling the readers “Screw you.” Instead, I leave Nick’s future open-ended. One never knows when the muse – or a publisher – might whisper in my ear to write another one.

Gypsy’s Kiss Arrives

Gypsy's KissAnd so it begins.

And ends.

After 14 years, Nick Kepler is taking a bow. In a novella that revisits the events of “Roofies” and Bad Religion, Nick finds himself embattled on two fronts. First, his business is dying. After getting kicked out of his digs at TTG Insurance, the agency is bleeding cash. Worse, he can’t get Elaine to make a decision about devoting herself full-time to their business.

Or even if she and Nick will be together.

But Nick is busy fighting another fight. Gypsy, the stripper turned high-price call girl, is leaving the sex trade for good. Only someone has a big problem with that and sends her a violent message. While stashing her on an island in Lake Erie, where the tourists won’t arrive for another month, he hunts down her attacker, digging into her past and find he has old scores to settle with many of Gypsy’s enemies. Because, as he reminds Gypsy, he can never repay someone for taking a bullet for him. She has the scar on her shoulder in case he ever forgets it.

The decision to end the Kepler series and how to do it was a difficult one. A fourth Kepler novel stood ready in outline form, but when I began to write, I found Nick was not talking to me anymore. His tale was told. It needed only a coda. I had thought of killing him off, which is tricky in a first-person series. In the end, I decided to up-end Nick’s world and let him decide his own fate.

So now, the story that began in 2001 with “A Walk in the Rain” now ends with Gypsy’s Kiss. And like “Walk,” it’s a tale of loyalty and sometimes crossing a line for someone Nick cares about. Gypsy is the ultimate survivor, a woman who, by all rights, should not have lived past her mid-twenties were it not for a suburban cop named Kepler telling her “You dropped your knife” and present her with a big target for that knife. Elaine is Nick’s best friend, wants to be his lover, but wants to reboot her life. And Nick? Like Gypsy and Elaine, he’s just trying to put the past to rest and live in the present.

Gypsy’s Kiss is exclusively on Amazon for the next 90 days. Get it now, and say goodbye to Nick Kepler.

Less Than A Week Away…

Gypsy's KissIt’s coming. And in less than a week. Gypsy’s Kiss will draw the saga of Cleveland PI Nick Kepler to a close.

What happens? Where does he go? Does Elaine finally leave her philandering husband for him? And what is going on with Nick’s favorite informant, Gypsy?

Gypsy’s Kiss builds on the events of “Roofies” and not only brings Nick’s story to a close, but Gypsy’s as well.

High-priced call girl and former stripper Gypsy is leaving the sex trade for good. She’s saved and invested wisely and is moving on to more legitimate endeavors. And she wants Nick to be her final client. The fee? One dollar.

Nick agrees to this, arranging for a quiet evening of watching old movies and splitting a bottle of wine, a token trick that need not be turned. But someone is upset with Gypsy’s move to a better life and lets her know it violently. Nick stashes her on an island in Lake Erie, abandoned during the cold weather, and searches her past for someone looking for revenge. In the meantime, Nick’s business is dying. Leaving the insurance company digs has turned out to be costly for him and partner Elaine. They have a way to salvage the business, but if Nick wants to go that route, Elaine wants something from Nick she herself has not been able to give back: commitment.

Aside from The Kepler Omnibus and a box set later this year, Gypsy’s Kiss will be my final independent long-form story. You can pre-order Gypsy’s Kiss here before it’s February 1 debut.

Happy New Year! Here’s Some New Stuff!

Hey, I know I’ve been slow putting out new work. Well, wait no longer. I’ve got three – Count ’em! Three! – new offerings as of today.

Winter's Quarterly, January, 2015Winter’s Quarterly – January, 2015

Three tales and an essay from crime writer Jim Winter. Violet: A young girl is trapped in the modern world of prostitution and witnesses a violent confrontation between her captor and her father. Ault Park: Office Mike Dufford, recovering from a hit-and-run accident, has a promotion to sergeant waiting for him. All he has to do is say an assistant chief drove the car. Overpass: A man contemplates ending it all. But first, he wants a damn fine cup of coffee. Politics: A Carlinesque Rant: You can sum up politics in one word. What is it? Well… The first of a quarterly magazine from Jim Winter. 99 cents. Cheap!

Available now at Smashwords.

Gypsy's KissGypsy’s Kiss

Gypsy is a call girl and one of Nick Kepler’s best informants. When she decides to leave the sex trade for good, however, someone gets angry. As in they destroy her apartment. Nick must hide Gypsy on an island in Lake Erie during the off season while he prowls the streets of Cleveland in search of her attacker. But her stalker holds a grudge against more than just Gypsy. Before it’s over, one of Gypsy’s “clients” and Nick himself will be attacked.

Available now for pre-order! Coming February 1.

Boxer briefs

CC 2008 Luis2402

And as always, it’s the first of the month, which means you can get into my shorts for free.

This month’s short is “Brunch,” which goes a long way toward explaining why I don’t write literary fic much. (“Overpass” in Winter’s Quarterly Jan 2015 comes close to real lit fic.)

So bad it’s good. Or at least mediocre.

Getting It Right: Part Deux

red-inked manuscript

(C) 2008 Nic McPhee, used under Creative Commons

I started work with my new editor on Gypsy’s Kiss last week. I will give her a shoutout when we’re finished, but so far I like it.

To the six of you who read the original “Gypsy’s Kiss,” it had the questionable premise of high-priced call girl Gypsy (from “Roofies”) wanting Nick to be her final client before she leaves the sex trade. I subbed that one to an anthology before really having time to work on that story. As a result, I wasn’t happy with it.


Expand it to a novella (or, if you want to be picky, novelette, but that’s a silly term), make it about the end of Nick Kepler as a PI and about his history with Gypsy, and we have a workable story. The trick Gypsy wants to turn initially is no more than Nick showing up with a bottle of wine and a dollar (because you don’t work for free) to watch old movies on a Friday night. Someone decides to make Gypsy’s exit difficult, and Nick is suddenly bartering services. (He reminds Gypsy that a bullet she took pays for much more than finding out who trashed her apartment.)

I reworked it and reworked it, at one point even killing Nick off in an interim draft. The story I sent to my new editor has a happier ending.

I can’t tell you how much it means to have a longer work edited. My editor is building a client list, so the rates were right. Since I was already aware of her work and her editing style (We are currently tag-teaming a mutual friend’s novel.), I saw this as an investment in what’s my final independent long-form release as Jim Winter. (Unless Holland Bay tanks.) She confirmed a lot of my story decisions and had me already thinking of ways to shore up the weaker sections of the story.

It pleases me to no end that Nick Kepler’s story will end edited as well as (if not better than) it was in the beginning. As I said before, Road Rules survived without a formal edit, as did Bad Religion, but as Holland Bay will soon go back to an agent, I want to end Jim Winter’s time as an indie writer with a better story.

And begin Dick’s run as an indie. My new friend has already agreed to do my first science fiction novella.

It’s been an awesome time to be two different writers.

Nick’s Not Going To Die. Here’s Why.

At the end of June, I announced I was going to kill off Nick Kepler unless I sold 50 copies of Second Hand Goods. The idea comes from an old National Lampoon cover that said “Buy this magazine, or we’ll kill this dog.”

Aside from no copies of Second Hand Goods selling, the most common reaction was, “Why would you kill him off?”

The answer: I was sick of the character. I attempted to revive the multi-book story arc I originally planned for him only to find I didn’t like the story very much anymore. Nick was supposed to help find out why his high school friend’s husband killed himself. It involved an old amusement park (a premise I still want to revisit), and, of course, Nick ends up sleeping with his client. Nick is always sleeping with at least one or two women in his books. I’ve always worked on the idea that, while a female character does not have to pass the Bechdel Test, it should be obvious that she could. Hard to do when storylines have mixed casts and your POV protags tend to be male. Impossible when your POV protag is male, and he gets naked with at least two of the major female characters. I looked at Holland Bay, where Detective Jessica Branson’s first scene has her looking in a mirror and calling herself a stupid slut (and bemoaning a wicked hangover). By the middle of the book, she refers to one of the major antagonists as her “Great White Whale,” barely manages to call out her male coworkers with something more than “Hey, you!” and is probably the one character the homicidal drug lord needs to fear most. (I have a lot of characters, protags and antags, hunting him like a whale.)

Then I looked at the science fiction novel. It’s an ensemble piece. There’s one protag who dominates one storyline, and another who, while not necessarily leading her part of the cast, is the voice of reason. Like Holland Bay, this one has big casts and a complex story (and unlike Holland Bay, a straightforward plot: Invaders come, renegades take advantage, explosions go all explodey.) Nick did not seem like a good use of my creative time.

So why did I want to kill him? He wasn’t earning. Oh, people look at Northcoast Shakedown and, occasionally, Bad Religion. But for all Nick’s personal struggles, those books are bigger stories, particularly Bad Religion. People seem to like Road Rules more. Road Rules has a bigger cast (despite it’s brevity) and usually leaves readers laughing. (The worst feedback I ever had was that it got too sarcastic. Hey, it’s a child of its author. Sarcasm is one of my best skills!) Again, Nick just didn’t do it for me anymore.

So I revisited Gypsy’s Kiss, about to go into revision. I didn’t like the original, so I pulled it back, changed the story up a little, and gave it a less cheesy ending. I’m also going to move the time up to 2005 (the current version starts a couple of months after Northcoast in 2002.) It’s still the end of Nick, but only as a PI. I won’t tell you how just yet. You’ll have to buy it when it comes out.

But I learned that killing a character out of spite is really just spiting the reader. Writers get enough flack for killing off characters when it serves the story. Which is the only reason anything should happen in a story.