Friday, November 29, 2013

Delin Colón, Rasputin: The Memoirs of His Secretary by Aron Simanovitch




AUTHOR:    Delin Colón (translator and annotator)
BOOK TITLE:  Rasputin: The Memoirs of His Secretary by Aron Simanovitch
GENRE:   Memoir/History
PUBLISHER:  CreateSpace


Please tell us about yourself.

You’re starting right off the bat with the hard ones? Well, let’s just say I went from being a member of the acid-dropping 1960s to the antacid-popping geriatric squad, in my sixties.  (First hand proof that for every action there’s an equal and opposite reaction?) Don’t ask me how I got here. It took me long enough to transition from not trusting anyone over thirty to being over thirty (twice now), due to a decade of denial.

That was probably too much information. The appropriate answer is likely that I’m a non-fiction writer and freelance editor currently residing on the coast of Washington state. My undergraduate (major: French) and graduate (Clinical Psychology) careers were scattered among six different universities due to my wanderlust. Beginning with a small artists’ colony an hour from New York City, I’ve lived up and down both U.S. coasts and in the province of Québec.

I’ve worked as a technical writer, a psychiatric counselor, a researcher, a “disco bunny” in a Playboy Club, the owner of an agency that paired writers with jobs, and co-owner of a construction company. My favorite job offer which, unfortunately, I had to turn down was to be a shepherdess on a large sheep ranch in Québec.

When and why did you begin writing?

Growing up in an artists’ colony, I always found the writers to be the most mysterious of all the talented artists there. I can’t remember a time I wasn’t read to – not just stories but poetry as well.
I began writing at eight years old, first composing a poem, then finding my non-fiction niche chronicling my appendectomy and hospital stay.  In high school and college, my love of research always led me to choose writing term papers over taking exams, when given the choice. During those years, a number of my poems and a few of my articles were published in small journals. In my adult years, I enjoyed working as a technical writer for Sociological Abstracts, as well as freelance-writing for businesses and, most enjoyably, starting an agency that paired writers with writing jobs. Writing, in some form or another, has always been part of my life.

What inspired you to write your first book?

It wasn’t my first book, but the first one I published, Rasputin and The Jews: A Reversal of History, was inspired by the memoirs of my great-great uncle, Aron Simanovitch, whom my father had told me was Rasputin’s secretary. I had been researching this ancestor for years when I came across his out-of-print memoir in French, a 1930 translation of the original Russian edition. Simanovitch had spent nearly a decade with Rasputin and knew him intimately.

What I was amazed to find out was that Rasputin was far from the evil individual historically depicted, but actually promoted progressive social and economic reform, including equal rights for the oppressed Jews. Specific examples were given and many historical figures were mentioned.

I knew instantly that my mission was to make this information more widely known. However, I knew that simply translating Simanovitch’s memoir into English would not be enough to sway opinion that was already firmly rooted, thanks to the anti-Semitic nobility whose positions were threatened by notions of equality. The aristocrats had conducted a ruthless rumor campaign against Rasputin and used him as a convenient scapegoat for Russia’s ills. Unfortunately, it was the smear campaign that became known as history.

I, therefore, spent well over a decade researching the events, people and places that Simanovitch refers to in his book, and found more evidence corroborating this view of Rasputin, including the recorded testimony and memoirs of people who were there, as well as many biographers and historians. I combined the results of my research and published Rasputin and The Jews: A Reversal of History two years before publishing my English translation of Simanovitch’s memoir, Rasputin: The Memoirs of His Secretary, in order to place the people and events in a more global historical context. 

The public’s interest has been gratifying, but most of all, I was pleased to hear approval of my efforts from Rasputin’s great granddaughter who tours Europe lecturing about Rasputin, in order to dispel the myths that surround him. 

What are your thoughts about promotion?

I don’t think about it as much as I do it.  It’s essential and basic, whether one is traditionally or self published. I think most new writers are surprised at how much work promotion is. It is a full time job. Unless you’re an established, famous writer, you cannot expect to sell without aggressively promoting…doing interviews, signings, guest blogging, writing articles, soliciting reviews, etc.

I know authors can hire PR folks to create a buzz, but it would probably take quite a while to break even on the expense. But more importantly, if the author of the book isn’t invested enough in the work to spend the time and energy to promote it (ultimately for his/her own success), how much energy will someone else invest when his future (unlike yours) doesn’t depend on your book’s success because he’ll get paid anyway?

There’s nothing to think about. Promotion is a no-brainer.

Do you ever have writer’s block? If so, how do you get through it?

It’s all a matter of perception, like the glass being half-empty or half full.  I’ve never had writer’s block. In fact, it’s self-sabotaging to even think of or call it that.  A “block” is a dead end. Nowhere to go from there except to slam your head against the wall.

I don’t see “blocks.” I see “crossroads.”  Writers usually say they’re ‘blocked’ or stuck when they have a decision to make about how to proceed.  A crossroads offers several possibilities; a dead end offers none. Where the writer sees no path to take, he struggles, trying to force a direction. The more he forces it, the more elusive is his path, obliterated in a fog of frustration.

When I’m at a crossroads and have options to choose, I walk away from the work. I go do some mindless task that I focus on, whether gardening, cleaning, bicycling, etc. I call it ‘productive procrastination’ because I’m not consciously attending to the issue at hand, but am distracting myself by doing other productive activities. The “Eureka!” moment in the bathtub happens because we allow our subconscious minds to work on the problem while our conscious minds (cluttered with the rules and limitations of ‘inside-the-box’ thinking) are relaxed and fixed on something other than the issue. I always end up with a solution, without any frustration or struggle.

Did you learn anything from writing your book, and what was it?

I learned a number of things, not only about Rasputin and Petersburg society in tsarist Russia, but about history being a matter of perspective. For example, descriptions of life in tsarist Russia differ vastly depending on whether the point of view is that of an aristocrat, a Jew or a peasant.  When reading a historical account, one must consider the source.

The other thing I learned was that I have many relatives descended from Simanovitch, including one of his granddaughters who grew up with and remains close to Rasputin’s great granddaughter.

What do you plan for the future?

Nothing, really. The future is so full of unknowns, I find it easier to attend to the present, which will partially dictate the future.  The rest I play by ear. I guess it’s kind of a ‘go-with-the-flow’ philosophy. I think sometimes we overlook opportunities because they weren’t part of ‘the plan.’ My ‘method’ (or non-method) allows for spontaneity and more outside-the-box thinking as events unfold.

How can we find you? Website, Facebook, Twitter, blog, etc.?

My website, The Real Rasputin: http://therealrasputin.wordpress.com/



NON-FICTION BOOKS:

Tell me a little about your book.

Rasputin: The Memoirs of His Secretary, by Aron Simanovitch (English translation by Delin Colón) is an account of Simanovitch’s life with Rasputin and afterward.  His description of Rasputin, though at times wild, is endearingly affectionate and surprising in his stories of Rasputin’s humanitarianism and anti-war rants. In the process, Rasputin’s secretary/business manager/friend, also reveals the underbelly of Petersburg society and the corruption of the tsarist government. He outlines the plight of Russian Jews and Rasputin’s efforts to aid them. Simanovitch also gives many examples of Rasputin’s healing abilities and the numerous assassination attempts, including the last, successful one. There are numerous footnotes explaining, correcting or giving background on the people and places mentioned in the book.

What do you hope readers will take away from your book?

On the most obvious level, I hope that readers will come away with a more realistic image of the man Rasputin was. More importantly, as I mentioned previously, I hope that when readers study historical accounts, they will take into consideration that it is often just one point of view of people and events, and requires a more global historical context.

What types of writing do you prefer, and why?

I prefer non-fiction because I’m basically lazy. That may sound contradictory since non-fiction requires (as does fiction to a lesser extent) a great deal of research. I love doing research, so it’s not work to me. But the convenience of non-fiction is that the characters, plots, time and events are already established. There’s nothing to fabricate and no striving for verisimilitude. It’s just a matter of researching a variety of points of view of a particular era, person or place. Of course, current assessments of historical events have the advantage of hindsight, and judgments regarding those events will be colored by the norms of the time from which they’re viewed.

What is the toughest part about being a non-fiction writer, and how do you get past it?

As the translator and annotator of Rasputin: The Memoirs of His Secretary, the most difficult part was maintaining Simanovitch’s voice and words.  This, of course, was not an issue with my first book, as I could express myself in a way that comes naturally to me. Initially, I thought it would be quite easy just to translate someone else’s words. But the way Simanovitch wrote about events that were common knowledge, even world news, in the 1920s, the reader would either have to be of his generation or have in-depth knowledge of Russian history to understand many of his references to events, names, places and dates.  My footnotes were the only way to overcome that, as I didn’t want to put words into the author’s mouth. That permitted me, along with some editing for clarity, flow and conciseness, to fill in the reader on all that Simanovitch took for granted as common knowledge.

What kind of research did you do for this type of book?

I must have read well over a hundred books on Rasputin, in French and English, in addition to books on the laws of the era, Russia’s treatment of Jews, The Pale of Settlement, World War I and various other related subjects. My most treasured sources were the memoirs and accounts of people who knew Rasputin, but also interesting were the fresh perspectives of a number of authors, especially the French ones.

A number of people have asked if not speaking Russian was a hindrance to my research. I didn’t feel so. In fact, French was the preferred language of the tsarist Russian court and many Russians fled to France during the 1917 revolution. Afterward, most of them wrote their memoirs in French. In addition, many papers and books that were written in Russian have been translated into English or French.  Many of the books I needed were out-of-print memoirs, treatises and reports that often took a while to find.

What about your book makes it special?

The mere fact of Rasputin being described as an advocate for the people, and this being the reason he was persecuted and his evil image fabricated, distinguishes this book (and my first one) from the majority on the subject. And both books, describing his special efforts on behalf of oppressed Jews, are the only ones to explore that topic. The view of Rasputin as a victim of Russia, rather than the other way around, is a unique one.


FUN QUESTIONS:

What do you do when you’re not writing?

What’s disturbing about this question is that I had to stop and think about it.  What do I do with my time? Naturally, I do a lot of reading.  Generally, when not writing, I like get up and move around and not do anything seated. It’s really quite unremarkable: I go for walks, clip plants in the garden, do a little yoga and perform 120 sit-ups a day (sixty twice a day).  Other than those activities, I’m often in deep conversation with myself or with my dogs. And, occasionally, I create minimalist abstract collages using cut-out shapes of colored construction paper, which is my favorite distraction for my conscious mind when I need all resources for my subconscious to do its job.

Describe your writing space.

My actual writing space is a dining room table with stacks of books, but most of my time is spent editing or promoting at my office desk, so I’ll describe that.  First let me clean it off or we’ll be here all night.  Okay: sticky notes all over my monitor; bills to the left of me; bills to the right of me; bills in front of me; a to-do list with coffee stains that have blurred the words (or I need new glasses); legal pads with pages of writing precariously stacked on a tv tray next to my desk; and I know my phone is buried under here somewhere. Just now, the room rings with a shrill bark from my long-haired mini-doxie, and her brother joins in to let me know that my time doing anything other than feeding them is up. (Viva la Preposition Liberation Front!)

Thank you for the opportunity to connect with readers on your blog. I had a wonderful time!




Rasputin: The Memoirs of His Secretary by Aron Simanovitch (translated into English and annotated by Delin Colón)

Available and annotated for the first time in English, Aron Simanovitch’s memoirs offer an intimate view of Rasputin through the eyes of his dear friend and secretary. Simanovitch reveals Rasputin’s progressive ideas for social and economic reform that outraged the nobility. In the process, he paints a Peyton Place image of early twentieth century Petersburg society, with its gossip, plots and intrigue. But more importantly, his revelations about Rasputin’s humanitarianism lend a three-dimensional view to this controversial figure of Russian history.






Rasputin and The Jews: A Reversal of History by Delin Colón

This book is a well-documented account of Rasputin as a healer, equal rights activist and man of God, and why he was so vilified by the aristocracy that their vicious rumors became accepted as history. For nearly a century, Grigory Rasputin, spiritual advisor to Russia's last Tsar and Tsarina, has been unjustly maligned simply because history is written by the politically powerful and not by the common man. A wealth of evidence shows that Rasputin was discredited by a fanatically anti-Semitic Russian society, for advocating equal rights for the severely oppressed Jewish population, as well as for promoting peace in a pro-war era. Testimony by his friends and enemies, from all social strata, provides a picture of a spiritual man who hated bigotry, inequity and violence. The author is the great-great niece of Aron Simanovitch, Rasputin's Jewish secretary. 


Wednesday, November 27, 2013

Murielle Cyr, Culloo




AUTHOR:  Murielle Cyr
BOOK TITLE:  Culloo
GENRE:  Children's Book: Preteen to Teen
PUBLISHER: McRites Press
BUY LINK:  http://www.amazon.com/-/e/B00C4L464O


Please tell us about yourself.

Writing has always played an important role in my life. It remained constant throughout the many stages of my life and has become even stronger now that I have more time. Short stories and poetry managed to find a place in various literary magazines and anthologies while I was a struggling mother juggling a teaching career, parental responsibilities and piles of unpublished materials. I'm at a stage in my life now where I can give writing its rightful place. Two of children's stories have been published and I am working on a third.

Writing and social media take a lot of my time, but I also love to do Tai Chi, make handcrafted soap, spend hours in the garden, and spend time with my family.

Please tell us your latest news.

My second children's book, Turtle Wish, has been released. Four of my poems were included in A World of Verse, a poetry anthology. I'm almost completed a science fiction novel for YA.

Are you a full-time writer or part-time, and how do you organize your writing time?

I'm as full-time as I can be since I've retired from teaching two years ago. I start after breakfast on the days that I don't have errands or social obligations. I don't believe in isolating myself from my daily activities. I write with the normal TV, video games, dog barking and any other daily background noises. If someone needs to talk, I put my computer to sleep. Sometimes I write for long periods, but at times its twenty minutes every few hours. I write with the flow, all these disturbances find their way in my writing.

When and why did you begin writing?

I started writing in grade school. I'd write stories using the different students in the class. It got problematic in high school when I'd get caught writing during math or history. Writing is an urge, just like any art. It can't always be justified.

What inspired you to write your first book?

My first book, Culloo, was inspired by stories my mother used to tell my sisters and I when we were kids. The book is a tribute to her and her (as well as mine) Métis ancestry.

What do you do when you’re not writing/editing or thinking about writing/editing?

I'm always reading. I read everywhere, even while standing on a bus. I also like to experiment with recipes I find on the Internet. Tai Chi and yoga keep me grounded. I also love to putter in my garden and visit friends and family. My perky Labrador gets me out of the house often.

What are your thoughts about promotion?

A necessary evil. Social media takes a lot of my writing time. It gets overwhelming at times but it's the only way to get your work noticed whether you self publish or go the traditional publisher route.

What was the toughest criticism given to you? What was the biggest compliment? Did those change how or what you did in your next novel?

One of my earliest criticism was that one of my characters hadn't done enough to solve the problem. When I reread my work I realized it was dead on. I ended up rewriting the whole story and thanked the person who had pointed that out.

My biggest compliment is when someone says my writing has touched him or her in some way. That's what every writer wants hear.

Do you ever have writer’s block? If so, how do you get through it?

Writer's block can be frustrating. I do extensive character descriptions before I start writing, so when I'm stuck I go back and reread them. That usually works for me since characters have the tendency to write the story.

How can we find you? Website, Facebook, Twitter, blog, etc.?

You can find me at my various rest stops:


Web:           http://syremuri.wix.com/murielle-cyr

Twitter:       https://twitter.com/syremuri




Tell us about the current book you’re promoting.

Culloo is a teen and preteen adventure story about two children searching for their father in secluded woods. As a single parent, the father must juggle work with family responsibilities. Tala and her brother are often left on their own because of his work. Children's Services have been contacted and threaten to place the children in foster care. The children throw caution to the wind and set out to find him. They soon discover that bear poachers are responsible for their father's disappearance and their adventures begin. They must find their father before the poachers do. They must also come to terms with the legendary woodland characters in order to find a way out of their predicament.

What is your experience working or being around children or teens?

I taught grade school for many years and enjoyed interacting with children of all ages. My favourite activity was reading out loud to them. Children will often relate to the character's problems and are interested in how a solution is found.

That's why it's so important to expose them to stories that will help them solve their own problems and make them think of others.

What do you hope your readers will take away from this book?

One of the themes in the book is the importance of remembering your cultural roots and to find strength in the wisdom of your ancestors. After all, it's the courage and creativity of those who came before us that make us who we are. I remember when I was a young mother overwhelmed with diapers and sleepless nights. All I had to do was think of my own mother and how she brought up seven children while working outside the home. Just thinking of how she never complained would remind me how minor my problems were

What comes first: the plot or characters?

My characters always come first for me. I do an extensive interview with them before I even start writing. The story develops in my mind as their character develops. I often refer back to the character sketch when I'm short of ideas.

How did you decide how your characters should look?

I usually have an initial general idea of what they look like. This sometimes changes when I interview them. Sometimes I leaf through magazines to get a more visual picture. When I find a good picture I cut it out and pin it on the wall in front of my computer.


FUN QUESTIONS:

What do you look for in a book when you sit down to read for fun?

I look for fleshed-out, three-dimensional characters. If I enjoy their company, it doesn't really matter to me if nothing extraordinary is happening in the story. If the character makes me forget the world around me, it's a good read.

What, if anything, bugs you when you read a novel?

When there's so much action that the character comes out looking like a hyper robot, I close the book. I guess I'm a social reader; I need to hang out with the characters.


Excerpt:


Tala can’t answer the door. The welfare officer is knocking and her father isn’t home again. She needs to find him before her and her young brother get placed in foster care. Their quest brings them to secluded woods where they discover bear poachers are responsible for their father’s disappearance.
Their adventures bring them in contact with the legendary woodland characters: the pipe-smoking frog-like people and the giant, ferocious black bird. Will they be able to survive the night alone with hungry bears and angry poachers and find their father before the hunters do?

Tuesday, November 26, 2013

Jack W. Germond, A Small Story for Page 3





AUTHOR:  Jack W. Germond
BOOK TITLE:  A Small Story for Page 3
GENRE:
PUBLISHER:  MuseItUp Publishing
BUY LINK:

Amazon.com

Barnes and Noble






NOTE: This book has been published after the passing of the author. His wife, Alice, has responded to the questions so you can have an opportunity to learn more about this amazing man.

Please tell us about your husband. 
Jack W. Germond spent 50 plus years covering politics in the US.  He was considered one of the best reporters in the business.  He also appeared regularly on CNN, the Today Show, and the McLaughlin Group.  Jack and his partner Jules Witcover wrote several books about the race for the White House and Jack’s memoir, Fat Man in A Middle Seat, was well received and has the best title ever.

Please tell us his latest news. 
Jack passed away on Aug. 14, three days before publication of this book, his first novel.

Was he a full-time writer or part-time, and how did he organize his writing time? 
Jack was a full time reporter.  After he retired he became a mostly full time writer, except when he wasn’t.

When and why did he begin writing? 
He loved writing, finding out the story – or creating it for this novel.  He began in the newspaper business covering sports in college.  Politics was more interesting.

What did he do when he wasn't writing/editing or thinking about writing/editing? 
Jack loved the track, he studied the form the way he studied candidates, and there was no such thing as a bad day at the track.  Good food and wine, shared with good company and extending the evening.
 
What was his thoughts about promotion? 
I think he would have been happy to see this, his final work and first novel, a success, so anything that achieves that goal sounds good to me.

Did he learn anything from writing his book, and what was it? 
Jack’s experiences: first as a reporter covering the story as it is, then as a columnist giving his opinions about “what is”, then in his memoir writing about himself, and finally as a novel making it all up spans a lifetime of learning and developing and trying new things.

Who is his publisher and how did he connect with them?
MuseItUp Publishing, through an author friend.

What was his marketing plan? 
Since this was Jack’s last work, and to honor his life I would love to see it do well, whatever is helpful.

Tell us about the current book you’re promoting for him. 
Jack’s book is a political/newspaper story, one that explores questions on both sides of the aisle.  The story takes place when newspapers were the media and politics less “gotcha”.

What gave him the idea for this particular book?
Jack had been mulling the story for over 15 years while covering politics – mostly presidential – all over the US.

Did he outline before he wrote?  If not, what was his initial process?
He spent a lot of time pondering what the characters would do.

What came first: the plot or characters?
Probably both but he told me that the characters took on a life of their own.

Which of his characters did he love/hate/fear/pity the most and why?
I think there’s a good deal of Jack Germond in the main character, Harry Fletcher.  So I hope Jack loved him a good deal.

Did his book require a lot of research? If so, what kind? 
The “research” in this book was the many years on the road, the newsroom and restaurants, the friendships and relationships.

What was the hardest part of writing his book?
I think the hardest part of the process for Jack was to allow himself to write fiction.  As a lifelong reporter making stuff up is not a good thing.  Then, I think, he was concerned as to whether he could.

What are his current books out right now, and what are the books coming up for release? 
Jack’s other books are non-fiction:  his memoir Fat Man in A Middle Seat, Fat Man Fed Up, and a number of presidential campaign books co-authored with his partner of many years, Jules Witcover.

What advice would he give a new writer starting out?
Jack loved his job reporting so much he would have done it for nothing. So I would guess, just do it.


JACK GERMOND PENS BREAKOUT NOVEL A SMALL STORY FOR PAGE 3   

Montreal, Quebec, Canada—MuseItUp Publishing is proud to release political pundit Jack Germond’s break out novel, A Small Story for Page 3. Jack completed the final edits just days before his death in August of 2013 and the ebook released on the day of his passing. The print book will release November 6, 2013.




A Small Story for Page 3

Harry Fletcher can’t for the life of him figure out what exactly the ‘nugget’ of information his colleague, Eddie Concannon, uncovered prior to his death is. Picking his way along the threads of information, Harry soon finds himself at odds with government officials and his own newspaper seems to be involved in the collusion.  Join Harry as he deciphers the clues and enjoy a journey into the world of investigative reporting set against a colorful back drop of characters and locations.

Short Excerpt from A Small Story for Page 3


"Oddly enough, ladies and gentlemen of the TV audience," Harry announced in his persona as Larry Largelungs of Action Central News, "the condemned man was smiling and singing as he approached the gallows."

The mood changed when he arrived at Wear's office to find the executive editor and the managing editor waiting and somberly reading printouts of the story.

"This thing has to be settled today," Wear said. "It's gone on long enough, it's tied us in knots, and we need to find a solution."

"I thought we had one," Harry said. "The story shows he has been sailing under false colors as a corruption fighter by trying to protect one of the targets of the investigation with whom he had a connection, perhaps lucrative, not previously disclosed."

"We're not the ones who have to be convinced," Mike reminded him.

When they walked into Marcotte's office, it was obvious he was not prepared to be persuaded. The publisher remained behind his huge mahogany desk and with a brusque gesture he seated the others at the small conference table.

"I've read the story you people seem to think should run on Page One as soon as possible," he said, "I think it’s still libelous horseshit, and I intend to spike it, this time for good. You still have no hard evidence that Tyler Bannister resisted Phase Two because of some personal concern. But Tyler denies it flat-out and there's no quote from him to corroborate it."

Harry was trying to contain his fury. "The only quote from him in reply was “go fuck yourself.” Do you want to use that?"

"Don't be flippant, Fletcher, this is a serious question."

"We all understand that, Dave," Wear said, stepping in quickly. "If you want a clearer denial in more decorous terms, we can do that."

"A denial isn't going to change the fact that we are doing serious damage to Tyler Bannister's reputation and potentially his political career," Marcotte said, his voice rising. "I don't intend to be a party to that."

"That was never our intention," Wear said. "We've gone where the story has taken us. The truth is that this episode raises serious questions about Bannister's candidacy."

"It shows him interceding in behalf of a friend and former business associate in an official investigation," Harry said with some heat. "That's a part of the truth about him that we know but our readers do not."

"Don't give me that truth and readers crap, Fletcher," the publisher said. "I remember you calling him a trimmer way back there. You had it in for him from the start. So did Concannon."

"This story quotes Tom Lawton saying Bannister called him with a warning about being on Carvaggio's list of targets and it quotes Rudy Myers as confirming that Bannister ordered Lawton's name stricken from that list once he agreed to retire from the bench."

"I know what the story says but, as I told you earlier, Fletcher," Marcotte said, "it is the publisher, not the reporter, who decides what appears in the News and I have made the decision on this one." After an interminable twenty seconds of silence, he continued, "I think we're through here, gentlemen. Thanks for coming in." When the elevator dropped them at the third floor, Wear beckoned them into his office and closed the door on Meg. "I don't know what we do now," he said.

"What you and Mike do," Harry said, "is keep faith with the good people here who depend on you to let them put out a good newspaper and hope for change. What I do, is clean a few things out of my desk and walk out of the building. I don't have any choice now."

"What are you going to do about the story," Mike asked.

"I haven't thought it through, Mike, but I'm not going to give it to the Trib or some television station. I don't know if the story is mine to use elsewhere or what. It would take a lot of time and effort for anyone else to duplicate it."
Wear had a different concern. "What are you going to say when the word gets out that you've left the building?" he asked.

"I could just tell the truth—that I have left the News after almost thirty years because of a decision by the publisher to spike a story I wrote. Period." He laughed. "I'll leave it to Amy Whiting to fill in the blanks."

At Wear's office door, he turned to his two old friends. "Look, this isn't the end of the world. Let's all have dinner later in the week, some place public for all to see. Meanwhile, I'll keep you posted."