by Jane Haddam
Sweet, Savage Death
A Patience McKenna Mystery
Orania Papazoglou writing as Jane Haddam
A MysteriousPress.com
Open Road Integrated Media
Ebook
For my parents
For support moral, emotional, and sometimes financial
For my brother, Xenophon
And my sister-in-law, Joan
And for Andrea, Jeremy, and Nicholas
Long may they wave
Contents
Fires of Love: General Editorial Guidelines
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
Chapter 7
Chapter 8
Chapter 9
Chapter 10
Chapter 11
Chapter 12
Chapter 13
Chapter 14
Chapter 15
Chapter 16
Chapter 17
Chapter 18
Chapter 19
Chapter 20
Chapter 21
Chapter 22
Chapter 23
Chapter 24
Chapter 25
Chapter 26
Chapter 27
Chapter 28
Chapter 29
Chapter 30
Chapter 31
Chapter 32
Epilogue
Preview: Wicked, Loving Murder
FIRES OF LOVE General Editorial Guidelines
Dear Romance Writer:
FARRET PAPERBACK ORIGINALS IS proud to introduce a new concept in romance fiction, FIRES OF LOVE. Aimed at the contemporary woman who wants more romance, more passion, more sensual detail than can be found in traditional romance lines, FIRES OF LOVE will present realistic characters in provocative situations that mirror the problems and possibilities of women’s lives today. To write for FIRES OF LOVE, you must have the passion and the insight to explore all facets of modern love and yet must be committed to the wonderful fantasy that is romance. Our stories will be sophisticated but not negative, sensual but not clinical. Most of all, they should be fun for the reader to read and for you, the writer, to write.
Please study the following guidelines carefully before submitting your manuscript to us; they’re the very essence of FIRES OF LOVE:
The Heroine. Older than the traditional romance heroine (25 to 35), the central character of a FIRES OF LOVE novel is a feisty, modern, caring young woman with a stake in her world. We’re looking for heroines with work they’re deeply involved in, or at least an overwhelming outside interest. A FIRES OF LOVE heroine doesn’t cry at the first sign of trouble or blush at a mere innuendo. She meets life head on. Although she has her faults, they’re not serious; and on the whole, she exhibits a maturity beyond her years. She’s got a sense of humor and the precious ability to laugh at herself, but she knows when to take herself seriously too. She’s not a doormat and won’t let the hero—or anyone else—turn her into one. Most importantly, a FIRES OF LOVE heroine must be an active participant in her love affair—and the directress of her life as well.
A FIRES OF LOVE heroine need not be a virgin, even if she has never been married. The subject may simply not come up. She takes a liberated, but not libertine, view of sexuality—knowing that it has its place in the love between a man and a woman. She is not, however, promiscuous. Rather she believes sex and love go together like a horse and carriage—and knows you need both to make a marriage! A FIRES OF LOVE heroine may be widowed or divorced. If divorced, however, it must be clear that the divorce was not her fault. In general, it is better if any previous relationship the heroine may have had pales in comparison to this new love.
The Hero. The hero is the man of every woman’s dreams—if not rich, then spectacularly successful at what he does: handsome, caring, compassionate, and, of course, irresistibly sexy. He should be older than the heroine, ranging in age from 30 to 45, and well established in his career. We’re looking here for the prototypical male: not a muscle-bound monstrosity, but an athletic, masculine dream. He should be strong-willed without being abusive, and should respect the heroine for her accomplishments as well as for her looks. Although he may have difficulty expressing his emotions, the FIRES OF LOVE hero feels deeply and strongly desires a commitment to a permanent relationship with the heroine.
The Setting. A FIRES OF LOVE romance can take place in the United States or abroad, in a crowded city or on a deserted desert island. Present the setting as romantically as possible—and use it to provide plot details and complications!
The Love Scenes, FIRES OF LOVE will present more frequent and explicit love scenes than are common in traditional romance, although a FIRES OF LOVE love scene should never be clinical. Rather, concentrate on what the heroine feels and thinks when she is making love to the hero. Tell us what is going on in her mind, how the rough touch of the hero’s fingertips tease the rosy peaks of her breasts into frothy, pulsing sensors of desire; how the teasing challenge of the hero’s tongue sends waves of passion to the very core of her being. Help us to experience this greatest of all fulfillments with the heroine—and remember that the focus of a FIRES OF LOVE love scene is on love, not passion alone.
The Plot A FIRES OF LOVE plot concentrates on the growing relationship between the hero and the heroine. Remember that this is a fantasy. Heavy situations such as alcoholism, drug abuse, abortion, wife battering, inflation, chronic unemployment, and criminal activity are not appropriate here. There should be no elements of mystery or suspense, and no suggestions of the gothic. A FIRES OF LOVE novel is basically a story about a man and a woman and the ways they find each other. Your job is to create a story where true love conquers great odds—to end in marriage. Manuscripts should be approximately 60,000 words long.
Due to the recent proliferation of romance novels on the American publishing scene, a number of plot devices and conflicts have become, we feel, sadly overused. If possible, the FIRES OF LOVE author should avoid the following situations:
The heroine will not give in to the hero because she thinks he sleeps with too many other women, and doesn’t believe in monogamous relationships.
The heroine will not give in to the hero because he thinks women do not belong in business or are not as competent as men.
The hero will not give in to the heroine because he thinks all women are promiscuous.
The hero will not give in to the heroine because he thinks she is a spoiled rich girl—which he disapproves of because he has had to work his way up from the bottom.
Since FIRES OF LOVE is a contemporary line, stories about arranged marriages or marriages of convenience are not acceptable.
The Style. A FIRES OF LOVE book should be written in the third person but from the heroine’s point of view. Flashbacks should be kept to a minimum and flash forwards not used at all. Books should seem to exist outside time—as if they were happening today, no matter when today might be. For that reason, no references should be made to any event or dates that would fix the story in time—the Korean or Vietnam wars, for example. A FIRES OF LOVE novel should give the impression of taking place anytime and everytime.
Concentrate on sensual detail. The hero and heroine should be described often and at length, with frequent references to the clothes, food, and decorations involved in any fictional scene. Put the reader into the world of your novel. Let her feel, taste, smell, see, and hear your world!
We hope you’re as excited about FIRES OF LOVE as we are—and we look forward to seeing your manuscript. Good luck and good writing!
Janine Williams
Editor in Chief
FIRES OF LOVE
CHAPTER 1
&n
bsp; I HAD A FRIEND once who thought you could find out anything you wanted to know about a person from the way she dressed—the weight of the fabric, the colors of the cloth, the cut of the styling. If he had seen me for the first and only time at Myrra Agenworth’s funeral, he would have thought me one of those tall women who is afraid of being tall, a self-conscious stooper, a drudge. He would have been right about only one thing. At Myrra’s funeral, I was more self-conscious than I had been anytime since the sixth grade. I am six feet and weigh a hundred and twenty-five pounds. I am tall and look taller. I stood in the back of the People’s Nondenominational Church on West Thirty-fourth Street and Tenth Avenue in a little black-nothing dress fresh from the SFAntastic Collection at Saks, looking like a stork.
I had my hair, which is very thick and blonde and falls to my waist, tied into a braid. I was gripping the pew in front of me and trying not to faint. I was also trying not to laugh. A three-day bout of fasting, brought on by my inability to fit into a size-seven bathing suit I had tried on in Bloomingdale’s for no other reason than that I had never seen anything so aggressively grotesque, had left me giddy and out of control.
The pastor raised his eyes to heaven and said, in the tone of a chipmunk spying an untended cache of nuts, “Dear Lord, take to your bosom this woman of love.”
I put my head in my hands and peered through my fingers at the first three rows of pews, determined to concentrate on the sociology of the spectacle. It wasn’t difficult.
Myrra Agenworth had died alone at the hand of a mugger in Riverside Park at two-thirty on the morning of December second, while she was out walking her dog. What she was doing walking a cocker spaniel in Riverside Park at two-thirty in the morning was never satisfactorily determined. There was some feeling at the time that it didn’t really matter. The woman was seventy-six years old, frail, eccentric at the best of times, rich beyond the point where her judgment could be readily questioned. If she wanted to walk out into the Manhattan night in diamond earrings, a ruby necklace that covered her breasts like a coat of mail, and a floor-length chinchilla cape, it was her business, and the doorman certainly wasn’t going to stop her. What mattered was that she was alone. Her children were all dead. Her one granddaughter lived in England, had just graduated from Oxford, and spent as little time with her grandmother as possible. There was some friction there, but it was to be expected. The son of one of the other romance novelists I know tells his friends his mother takes in typing for a living—anything to avoid the embarrassment of being related to a woman who writes “those drippy love books.”
Myrra had written her funeral service before her death, decided on the People’s Nondenominational Church, and chosen the props. It was left to her publishers to find thirteen dozen roses, thirteen doves, a peacock, and a heart-shaped casket. They didn’t manage the casket. They had to settle for an ordinary one, with a broken heart carved into the wood above the place where Myrra’s head was supposed to be.
The service was carefully planned for December tenth, the Thursday before the Sunday that would open the Third Annual Conference of the American Writers of Romance. Every important romance novelist and editor in the country was due at the Cathay-Pierce Hotel on Friday. The editors at Farret Paperback Originals got them in on Thursday and packed the first three rows of pews with brand name authors from twenty-two states and three countries. Barbara Cartland came with a bit of black veiling pinned into her improbably bouffant hair. Rosemary Rogers managed to look grief-stricken. Even Bertrice Small held up her little square of pew, looking a trifle grim and a trifle sad and a trifle lost.
In the fourth row they placed the most important editors in category romance: Vivian Stephens of Harlequin, Karen Solem of Silhouette, Anne Gisonny of Candlelight at Dell, Ellen Edwards and Leslie Kazanjian of Berkley/Jove, Carolyn Nichols of Bantam. Janine Williams of Farret was there, in the center of the row, her little brown bun covered with a black snood perched exactly two and one half inches above the collar of her black suit jacket. Her back was straight, her shoulders were squared, and her suit was a Harvé Bernard she shouldn’t have tried to afford. She looked expensively uncomfortable, but she also looked the quintessential editor. For the moment that was even more important than grief. CBS had a camera crew in the lobby.
“Chocolates,” Phoebe whispered into my waist. “They’re going to pass out chocolates.”
She sounded cheerful and disgusted at once—cheerful about the prospect of one of those little heart-shaped, cream-filled chocolates from Godiva, disgusted because Amelia Samson was passing them out. Amelia Samson was what Phoebe called “one of the old school,” as if romance writing was an army making the transition from horse cavalry to motorized tanks. Amelia was in her early sixties, somewhat over two hundred pounds, and the “author” of over two hundred category romances. She even had her own line, put out by Farret, called “Amelia Samson’s Lovelines.” What Phoebe objected to was the fact that Amelia Samson didn’t actually do any writing, and hadn’t for nearly twenty years. She barricaded herself in a forty-room house in Rhinebeck called “The Castle,” surrounded herself with a dozen aging, fawning women, and fed each of them a detailed plot and character outline every month. They wrote the novels. They accepted board and minimum wage.
Phoebe was six months younger than I was, four feet eleven inches tall, one hundred thirty pounds, and determined. She was determined on general principles, and it suited her. Needless to say, she wrote her own books. She wrote very long books, almost never touched category romance, and still managed to produce two paperback originals a year. She had changed her last name from Weiss to Damereaux, wallpapered her ten-room apartment in varying shades of velvet, and appeared in the pages of People magazine wearing a floor-length scarlet velvet caftan, six strands of rope diamonds, pear-shaped diamond earrings so heavy they made her earlobes droop, and no fewer than two amethyst rings on each of her eight fingers. The ex-wife of her insurance agent, who subscribed to People, sent a copy of the article to her ex-husband’s front office. Six weeks later, after an extensive investigation involving dozens of pained-looking young men in brown linen suits, they canceled her theft, homeowner’s, and life insurance policies.
“Not chocolates,” Phoebe said sadly, “orchids.”
Amelia stopped at our row and passed the basket, a mock Tyrolean affair with red and white ribbons wound around the handles. When it reached me, I took a flower, considered putting it in my hair, and decided to hold it instead. I was in no hurry to look like a stork wearing a bonnet.
I took my hands off the pew to pass the basket on and teetered, unused to the very high heels and dizzy from lack of food. Phoebe hissed at me, “You’ve been starving yourself again. You’re committing suicide.”
“Just cleaning out the poisons.”
“Do you know what happens when you don’t eat enough? Your body eats itself. You chew on your own liver.”
A small, dowdy woman in the pew in front of us turned, frowned, and wagged her orchid at Phoebe. Then she turned away and wiped a lavender-scented, blue-embroidered handkerchief across her dry eyes. A little lady from Westchester, I decided. A housewife or an ex-librarian, whiling away her time producing sixty-thousand-word tracts on the course of True Love.
The minister made the sign of the cross over the heads of a few frightened doves who were lurking under the altar and the congregation sat down.
“Lydia Wentward’s on cocaine,” Phoebe said, whispering into my ear this time. “Isn’t that wonderful?”
I grunted, not sure if that was wonderful or not, and beginning to feel dizzy for reasons other than lack of food. It had begun to occur to me, in the middle of all that unrelieved nonsense, that Myrra Agenworth was dead. I would miss her. In many ways, she had been a silly woman, vain, pampered, sentimental. She had made a great deal of money and spent it on things I would not have wanted. At times, she had even been sharp-tongued, and petty, and cynical. She had also been considerate and gentle and kind. In the five years I had kno
wn her, I had asked for her help many times. She had always given it.
I dug my hands into the pockets of my dress and clamped my teeth shut, willing myself to stay upright, willing myself to stay calm until after the service was over.
“Patience. Patience, darling. I’ve been looking all over for you.”
High, whining voice, amphetamine shriek. I stopped halfway down the steps of the People’s Nondenominational Church and looked around for the woman who owned it. I saw nothing but blank, deserted buildings sweating soot in the cold December air and a long, thin line of mourners come to view the body. Of course, no one could view the body. The mugger had done a job on Myrra’s face and the mortician hadn’t been able to correct it. The mourners didn’t know that. They were fans, women from Iowa and Kansas and the deep South, come to say good-bye to the best-loved, bestselling, and best-known category romance writer in history.
The line went down the block and around the corner, out of sight. Two Moonies were working their way toward the steps, passing out pamphlets. The women took them and smiled and probably said thank you in their politest voices. A few days later they would sit on the edges of their imitation Louis Quinze chairs in a hospitality suite at the Cathay-Pierce, and smile and say thank you when somebody noticed them long enough to offer them a glass of sherry.
“Patience, for God’s sake,” Mary Allard said. “I’ve been looking for you everywhere.”
She popped up in front of me, her bright little face made oddly dull by a thick wash of foundation, like the mirror with the film on it in one of those soap commercials. I didn’t like Mary Allard. She was the editor-in-chief for the Passion Romance line at Acme Books, and she was always moving—diet pills and pep pills, strong Turkish coffee and Celestial Seasonings Morning Thunder Tea, vodka and marijuana and God knew what else. Myrra once wrote a novel for Passion and then had her agent, Julie Simms, audit her royalty statements. Acme had a reputation for underpaying advances, cheating on royalties, and buying up the copyrights on books whose authors were too green to know any better. Myrra had gone after Acme like a religion-crazed knight in pursuit of a dragon. She had hired private detectives, threatened to bug Acme’s offices, challenged Mary Allard to a fight in the Plaza bar, and had all of Acme’s records for 1975 through 1978 subpoenaed in a civil suit. Acme gave in, but Myrra didn’t. She wanted proof, and she sat with her armor on until she got it. Then she took the five thousand dollars the company owed her (but had tried to say they didn’t) and never spoke to Mary Allard again.
