Something in the Water

by Terence Faherty

P.G. Wodehouse

In earlier posts, I've mentioned my admiration for two writers:  P.G. Wodehouse, the great humorist and creator of Bertie Wooster, and Raymond Chandler, one of the founders of the hard-boiled private eye school and the creator of Philip Marlowe.  I proudly claim both as influences on my own humble writing.  At first glance, Wodehouse and Chandler would seem to have little in common (besides me).  But there are interesting parallels.  Both men wrote popular fiction for a wide audience but attracted their share of admirers in ivy-covered halls.  Both were wonderful prose stylists, admired by the likes of Evelyn Waugh, despite the handicap of never having set foot inside a university.  And, speaking of schools, both went to the same one at almost the same time. 

Raymond Chandler

Seriously?  The very British and frivolous Wodehouse and the very American and serious Chandler at the same school?  Yes, Dulwich College, outside London, England.  In spite of the college part of its name, Dulwich (pronounced dull itch) is a public school (pronounced private school), a very exclusive prep school.  It was founded in 1619 by Elizabethan playwright Christopher Marlowe's favorite actor, Edward Alleyn.  Wodehouse arrived in 1894 and stayed until 1900.  Chandler arrived in 1900 and stayed until 1905.  So they might have just missed one another, if Wodehouse departed at the end of the spring term and Chandler arrived at the start of the fall term.  (In Selected Letters of Raymond Chandler, edited by Frank MacShane, the mystery writer mentions Wodehouse, but doesn't say whether they'd met.) 

Dulwich College

Was there something in the Dulwich water that stimulated great prose writing?  Was there a particular headmaster or a teacher on the staff who inspired and encouraged these two students?  I'd love to know.  If there's a doctoral candidate out there who's stuck for a thesis topic, he or she should snag this one, delve deeply into the subject, and report back to me.  As an added inducement to potential deep delvers, here are some additional  parallels between the two men.

Both were separated from one or both parents at an early age.  Wodehouse was farmed out to boarding schools and relatives in England while his parents lived overseas.  Chandler and his mother were deserted by his father.  The pair moved to England in part because Chandler's mother hoped to educate her son more cheaply there.  After Dulwich, both men tried conventional jobs, Wodehouse in banking and Chandler in civil service, and both soon quit to try journalism.  Wodehouse made a success of that and honed his prose style while contributing to various papers and magazines.  Chandler didn't; he returned to America, worked his way up in the oil industry and only returned to writing when he lost his job due to the Depression (and his drinking).  He then honed his own prose style writing for pulp magazines.

Both men tried their hands at screenwriting in Hollywood, with varying degrees of success.  Both married but neither had children.  Wodehouse loved mysteries and had fairly catholic tastes, enjoying Edgar Wallace, Ngaio Marsh (whose Inspector Alleyn spelled his name the same way as Dulwich's Edward Alleyn), Agatha Christie, Rex Stout, and Arthur Conan Doyle.  But then, mysteries were an escape for Wodehouse, not being his bread and butter.  They weren't an escape for Chandler, and he tended to be critical of other mystery writers, especially Golden Age writers like Christie.

C.S. Forester

In a recent post, I mentioned my love of coincidences.  While researching this brief column, I ran into another one.  Around the same time I was snubbing Tolstoy and Dostoyevsky in favor of Wodehouse and Chandler, another of my favorite writers was C.S. Forester, author of the Horatio Hornblower series, among many other popular novels (including some fairly noir crime stories).  No points for guessing where Forester spent his prep school days.  Yep, good old Dulwich, from 1915 to 1916.

I wish now that during my one and only trip to England I'd stopped by Dulwich and tried the local water.  It couldn't have hurt. 

Good-bye, 2013, Good-bye, Audrey Totter!

by Terence Faherty

Audrey Totter

Many superstitious people will breathe a sigh of relief tonight--or rather, tomorrow morning at 12:01 a.m., when 2013 heads west.  It takes with it the usual carload of movie celebrities, a few of whom will be honored at the Oscars in March.  A much more comprehensive tribute is currently airing on Turner Classic Movies.  Tucked away among the bigger names--Eleanor Parker, Joan Fontaine, Peter O'Toole, etc.--is one that resonated for me:  Audrey Totter.  She died on December 12 at age 96. 

Totter and Robert Taylor,
up to their necks in noir

Totter, an apple-cheeked blonde, was a femme fatale of film noir.  She wasn't in the class of Joan Bennett or Claire Trevor or Ava Gardner, stars who dipped a toe in noir.  Totter was more like Jane Greer, a contract-player-grade actress for whom the noir flowering of the late 1940s was a career high point.  Totter was in the original The Postman Always Rings Twice (though outshone by a luminous Lana Turner), The Unsuspected, The High Wall, and The Set-Up, to name a few.

My favorite Totter film is Lady in the Lake, perhaps the strangest of the Raymond Chandler adaptations--at least until Robert Altman happened along.  The film stars Robert Montgomery, who also directed, so he may be responsible for some of the strangeness.   Two of the odd features are relatively minor:  the movie is set at Christmastime (the opening credits feature carols and Christmas cards) and Philip Marlowe is both a P.I. and an aspiring writer.  (Everyone secretly wants to be a mystery writer, even characters in mysteries.)

The film's major oddity is that, for the bulk of its running time, the camera takes the place of Marlowe.  We see what he sees and only see Marlowe when he chances to look at a reflective surface.  Some sources claim that this gimmick was intended as a substitute for the distinctive first-person voice of the novel.  If so, it was an odd choice, as it did nothing to replicate Marlowe's voice that a simple voice-over couldn't have done better.  In fact, it makes the movie so static that it could be called a barely-movie.  It also put a lot of pressure on the supporting cast, who had to play directly to the camera.  Totter headed that group and so had most of the close-ups.  Luckily, she could handle them.

Totter from Lady in the Lake, Philip Marlowe (Robert
Montgomery) seen as hand (left) and reflection in the mirror 

Though not entirely successful, Lady in the Lake will be around for a while, in part because it's the novel's only film adaptation, in part because it was so experimental.  So Totter, who died during the Christmas season, will be seen in her prime amidst the trappings of Christmas for years to come.

Totter's death prompted a couple of thoughts.  One is that a life as long as hers makes the person in question seem almost like a time traveler.  Woodrow Wilson was president when she was born, an amazing thing.  Her Lake co-star, Robert Montgomery, who had a relatively long life for a World War II veteran, died in 1981, thirty-two years ago.  John Garfield, of Postman fame, who had a relatively short life (thirty-nine years), died in 1952, sixty-one years ago.  By his standards, Totter was granted two lifetimes and was eighteen years into a third.

The other thought is one more appropriate to this day, a day given over to life assessments and future dreams.  It is that any person working in a creative field, be it a femme fatale actress or a mystery writer, will be lucky to be remembered.  That person will be luckier still if his or her work lives on for a time.  My toast tonight will be that all of our best work will!     

The Big Moving Sleep Target

by Terence Faherty

This time last year I was serving as the program chair for a great mystery conference we have here in Indiana, Magna Cum Murder.  (This year's conference is being held in Indianapolis on October 25, 26, and 27, and there's still time to register.)  At Magna, they often pick a classic mystery as the conference book.  All attendees are encouraged to read it, at least one panel is devoted to it, and the movie version is shown, if one exists.  I chose The Moving Target, the first Lew Archer novel by Ross Macdonald.  (Yes, it does say "John Macdonald" on the first edition cover.  Macdonald, whose real name was Kenneth Millar, didn't settle on Ross for his pen name until the fifth or six book.)  I selected that early book, rather than one of Macdonald's later classics, because there is a movie version, 1966's Harper, starring Paul Newman.
 
After making my decision, I reread The Moving Target for the first time in perhaps thirty years.  The first few chapters made me glad I'd picked it, the last few less so.  But what struck me most about the novel was its close relationship with another first number in a famous series, The Big Sleep, Raymond Chandler's first Philip Marlowe novel.  It's so close, in fact, that I'm convinced Macdonald reread The Big Sleep before laying out The Moving Target, if he didn't have a copy open on his lap as he wrote.

I'm not going to summarize the two plots here.  I'll save that arduous task for when I expand this post into my doctoral dissertation (later to be an Edgar-nominated critical work and, later still, a direct-to-DVD cartoon).  I'll confine myself to citing ten examples to support my contention that, in many ways, The Moving Target (TMT) is a play on and an inversion of The Big Sleep (TBS).

- 1 -

In both books, the PI is called in to straighten out a problem for a wealthy family whose senior representative is an invalid:  General Sternwood in TBS and Elaine Sampson in TMT. Both these characters are heartsick over the loss of a pseudo son, the general's runaway drinking buddy and Elaine's killed-in-action stepson.

- 2 -

The characters of the fathers of these two families and their respective daughters is an example of Macdonald's inversion of Chandler's plot.  In TBS, General Sternwood is wise and his daughter is wild.  In TMT, Ralph Sampson (Elaine's missing husband) is wild and his daughter is wise beyond her years.

- 3 -

Both plots feature rackets complicated by and eventually undone by other crimes.  In TBS, a smut book racket is undone by a blackmail play.  In TMT, a smuggling racket is undone by a kidnapping.

- 4 -

In both books, the initial crime seems vague and phony:  the too polite blackmail of the Sternwoods and the kidnapping of Ralph Sampson that might not be one. 

- 5 -

In both cases, a shadowy underworld figure appears to be pulling the strings.  Each has a last name that's a vague classical allusion, Eddie Mars in TBS and Dwight Troy in TMT.  Both own or have owned a gambling joint, and both are gray-haired.

- 6 - 

Both books feature dens of iniquity:  the house where the wild Sternwood daughter does drugs in TBS becomes the red, zodiac-themed bedroom of the wild father in TMT.

- 7 -

Both the Sternwoods and the Sampsons employ a lovesick young man whose infatuation with a drug user will get him killed (and, again, the names are similar):  Owen Taylor, a chauffeur, in TBS and Alan Taggert, a pilot, in TMT.   Here, Macdonald's inversion of the Chandler model is again apparent.  Taylor chases a Sternwood daughter while Taggert is chased by Sampson's.

- 8 -

The supporting casts have other parallel characters, including two hard luck little men with criminal pasts whose devotion to the wrong women will end them:  Harry Jones in TBS and Eddie Lassiter in TMT.

- 9 -

And in both novels, the PI has a friend with either a current or past connection to the local district attorney's office, and, yet again, the names are similar:  Bernie Ohls (TBS) and Albert "Bertie" Graves (TMT). 

- 10 -

The final link is another name clue, in some respects the most obvious one Macdonald planted.  The wild daughter from TBS is named Carmen.  The not-so-wild daughter from TMT is named Miranda.  Get it? 

Carmen Miranda!

A coincidence?  I think not.  In fact, I rest my case.

Who's On First

Last Tuesday, Dale Andrews published a thought-provoking piece in this space about the first and third person points of view.  In it, he listed some innovative things recent writers have done with the first person, which I found especially encouraging.  In my own writing, I've always favored the first person point of view, and it rankles to occasionally hear it dismissed as simplistic, as a stage a beginning writer works through on his or her way to more mature narrative techniques.  As Dale's examples demonstrated, first person can be pretty complex.

Marlowe and (Almost Certainly) Treacherous Client

And it's the point of view used by Raymond Chandler and Ross Macdonald, writers who made me love the private eye subgenre.  First person is part of the traditional private eye story's deceptively straightforward structure:  a problem is posed and a hero sets out to find a solution.  It's like some ancient epic, except that the challenge isn't being set for the hero by some god or demigod, who may be treacherous, but by some client, who is almost certainly treacherous.  Chandler and Macdonald's take on this simple formula required that the private eye also serve as bard.



Covers Held at Bay

Unfortunately, even a simple formula can lead to some hard work for the writer of book-length mysteries.  Think of the challenge like this.  Your job as a mystery novelist if to hold the front and back covers of your published book about three quarters of an inch apart.  That may not seem too hard.  What, after all, is three quarters of an inch?  But the only thing you can use to get that job done are sheets of paper, none much wider on edge than a human hair.  And you can't scrunch the pages up, either.  (Leave that to reviewers.)  You have to lay them perfectly flat.  You'll need hundreds of them, about three hundred, in fact, to keep those covers at a safe distance.  Start writing.

Waiting for Godot

If you start writing in the first person, you've made the challenge even harder for yourself.  Everything that happens in those three hundred pages has to happen to or be witnessed by one person, the narrator.  The exceptions are stories told to the narrator by other characters, and you'll get a few of those in a mystery novel, as witnesses come forward and suspects try to clear themselves.  You can't overdo that, though, or your readers will start to feel like spectators at a play in which the only thing that happens on stage is talk.  Waiting for Godot, perhaps.   A less esoteric example is the Sherlock Holmes story "The Copper Beeches," which features not one but two long recountings by the client, Violet Hunter, and almost no on-stage action until the closing pages, when Watson shoots a dog.  (The doctor was provoked, but he was also probably tired of listening to Violet prattle.)


To keep the action on stage, you have to twist the plot and twist it again, because holding your covers apart isn't the only challenge you face.  You also have to fool your protagonist (and hopefully your readers) for three hundred pages.  The result can be a very complex plot, the kind Chandler and Macdonald were known for.  (One of my plots was called "labyrinthine" by a reviewer.  I didn't mind the adjective, but not being able to pronounce it still embarrasses me.)  After all, your detective hero is no dummy--it would be another turnoff for your readers if they were always way ahead of your Holmes, waiting for him to catch up.  So you'd better have convolutions within your convolutions.


It's no wonder that many writers relieve the pressure by filling their mystery novels with non-mystery material, like bread crumbs in the meatloaf.  The bread crumbs can take the form of romantic subplots, comic subplots, and updates on an extended cast of supporting characters that can start to read like a Christmas letter.  ("A funny thing happened last fall to Uncle Ollie at the state fair. . . .")



Another pressure relief valve that's been popular for a while is for the writer to slip out of first person to write passages or chapters or every other chapter in third person, often from the killer's point of view.  This approach offers the writer the chance to have it both ways, to have the distinctive voice and convincing inner life of first person and the fly-on-the-wall aspects of third.  For me, though, this technique "breaks the fourth wall," to borrow a motion picture term.  That's when Groucho Marx or some other comedian directly addresses the

Groucho, Breaking the Fourth Wall

camera to get a laugh.  ("I have to stay through this, but there's no reason you folks shouldn't leave.")  Breaking the fourth wall reminds the paying customers that they're watching a movie--or in the case of a mystery novel, that they're reading a book.  It can wake the reader up from the continuous dream that the writer works so hard to create.  And this is an even bigger sacrifice in a first person story, since this point-of-view shift can shatter the illusion that a Marlowe is sitting next to you at the bar, telling you his story himself.
   
And that's the great thing about first person, the thing that makes it worth all the effort it takes to stay in character for three hundred pages:  its intimacy.  And it's also the best answer to the charge that first is simplistic.  Creating a character like Marlowe from the inside out, who's familiar to the reader not because of some external trappings but because his inner voice is recognizable and believable and, on some level, not unlike our own, is anything but a simple job.  But if you pull it off, the reward is immortality.


Actually, it isn't.  But you do get to feel like you've done a day's work when you knock off for your martini.  Cheers.

Tether's End

In a review of J.K. Rowling's recent book, The Casual Vacancy, I came across the following haunting quote by Flannery O'Connor, the Southern novelist, short story writer, and essayist.

Flannery O'Connor

"The writer can chose what he writes about, but not what he can bring to life."

The book reviewer (whose name I forgot to note when I was recording the O'Connor quote in my journal) was making the point that Rowling had breathed life into a series of books about an improbable boy wizard but had fallen short with a realistic novel about a contemporary English town.  I have no idea whether this was a valid criticism of The Casual Vacancy, but it got me thinking about some favorite mystery writers and about writing in general.

The first writer who came to mind was the creator of Sherlock Holmes, Sir Arthur Conan Doyle, who wanted badly to be Sir Walter Scott, creator of Ivanhoe.  Doyle chose to spend a great deal of his time not writing about Sherlock Holmes--even famously killing him off and one point--or any other detective and he certainly wrote many successful non-mystery tales.  But Holmes and Watson remained the characters Doyle truly brought to life, along with their fogbound, gas-lit world.

Another example is Dorothy L. Sayers.  She drew herself back from the brink of failure and poverty by creating a fantastically wealthy sleuth who never failed, Lord Peter Wimsey.  She wrote a series of increasingly literary novels about Wimsey before finally breaking out of the Wimsey chrysalis--as she saw it--to write religious plays and translate Dante's Inferno.   But neither of these efforts cast the long shadow of Lord Peter, as improbable a character as Harry Potter and yet just as lively.

Then there are other favorites of mine like Margery Allingham, who lent me a title for these musings, and Raymond Chandler.  They established successful realms in crime fiction and never strayed far from them.  Were they less adventurous than Doyle and Sayers, more certain of the value of their work, or more conscious of that invisible tether of which O'Connor hinted?

Naturally, I also thought of my own writing, of the years I spent writing in the voice of Owen Keane, my failed seminarian and mystery addict, and the years I spent trying to find other voices.  Also about my faithfulness to mystery writing in general.  Does that fidelity reflect a conscious choice or an unseen tether?  And if it's a tether, who's holding the other end?

I find something else O'Connor said about writing more hopeful:  "The writer operates at a peculiar crossroads where time and place and eternity somehow meet.  His job is to find that location."

The implication, unstated, is that every successful fiction writer will find a different crossroads, due to the variables of time and space.  The hope, also unstated, is that the writer will recognize that crossroads when he or she finds it, like an Allingham or a Chandler.  The historical record suggests that this isn't always the case, but also that it might not matter, that a Doyle or a Sayers might be writing for the ages whether or not he or she suspects it.

Good luck finding your own crossroads.  When you do, write your heart out.     

I Found My Thrill (but not on Blueberry Hill)

The original title at the top of this was simply "Thriller."  When my grandson stood behind me and saw that, he asked, "G-Mama, are you writing about Michael Jackson?"  I'm not, so I changed the title though I'm not writing about Fats Domino either.  (BTW, my grandson is the ONLY person who can stand behind me while I write without igniting my wrath.)

Somehow I don't believe this photo really
needs a cut line.

As some of you know, my Callie Parrish Mystery series is so close to cozy that I don't object to being classified as a cozy writer.  I wrote the first one following what I thought were the guidelines for cozies, but Berkley Prime Crime thought not and  marketed them as Mainstream Mystery.  I've also done some writing under pen names because I didn't want to offend or upset those wonderful people who read about Callie and Jane nor disillusion any of my former students that Ms. Rizer might say something that wasn't "nice."

I'm presently trying to find a publisher for a new thriller, and when I do, it will be published under the name Fran Rizer.  I've decided I'm too old to try to protect my reputation any longer, and the students I last taught are now grown. It's not going to hurt for my readers to realize that while Callie Parrish doesn't use profanity, Fran Rizer knows how to spell those words!

Since my genres sometimes cross, I researched genres again when I finished this book to see what I'd written. Yes, there are several murders (way more than the maximum of  two  allowed in a cozy), but I wasn't quite sure what  to call this book.  After all, I researched cozies before the first Callie book, and didn't hit the target. My agent helped me.  He calls this a southern mystery thriller.  Everyone knows the meaning of southern and mystery, but what exactly IS a thriller?

I'll share my findings with you, but please don't think I'm comparing my thriller with the ones mentioned in this article.

First off, I don't believe in writing "formulas."  There is no formula for writing a thriller, but there are shared characteristics.  The biggest one is obvious:  thrillers "thrill."  The plots are scary with great risk to the characters, making the reader either eager to turn the page or scared to turn the page and see what's next.

Thrillers cross many writing genres and can be divided into different categories:  action thrillers, military thrillers, psychological thrillers (like Hitchcock's Psycho), romantic thrillers, sci-fi thrillers, spy thrillers, and even more.  The stories begin with a major, generally life or death, problem and a protagonist who attempts to solve it only to find the threat grows bigger and bigger and more and more dangerous.  The confrontation between the protagonist and antagonist is dramatic, and the book ends with a short wrap-up.

Recognize these people?

The thrillers that most interest me are the thriller murder mysteries. Some are classic "Who-done-its?" Thomas Harris's Silence of the Lambs is that kind of thriller.  We don't know who committed the murder(s) until the end.
.
Ken Follett's The Eye of the Needle and Peter Benchley's Jaws are "How-done-its?"  The readers (or movie viewers) know who the bad guy is from the very beginning.  The tension and thrill is in the question, "Will they catch him/her/it before more people are killed?"  Note that the bad guy doesn't have to be human.  It can be an animal like in Jaws.

Dick Francis died in 2010.  He had
received numerous awards including
three Edgars, the Crime Writers'
Association Cartier Diamond Dagger,
 and the MWA Grand Master Award.

Not all murder mysteries are thrillers.  Many are puzzles that are interesting and entertaining but don't sweep the reader into a thrilling action-filled ride. Dick Francis's works don't fit that category.  He was a master of the mystery thriller.

There are mystery/thriller writers whose works surpass the genre and become serious art.  Examples are:

Raymond Chandlers Phillip Marlow novels, James M. Cain's The Postman Always Rings Twice; John D. McDonald's Travis McGee novels; and Ross McDonald's Lew Archer novels.  They all make serious social commentary and have existentialist undertones. Somehow, I don't think I'll fall into that category, but I'm pleased enough with my new southern mystery thriller under my own name.

Wish me luck finding a publisher for this new venture.

Until we meet again… take care of you.

Setting as Character

Setting. Everyone knows about it. Few people actively think about it.
And that's a shame, because for writers, your setting is like a pair of shoes: if it's good, it's a sound foundation for your journey. If it's not, it'll give you and your readers pains that no orthotics will remedy.

Nowhere is this more true than with crime fiction. In fact strong descriptions of settings is such a deeply embedded trope of the genre that it's frequently overdone, used in parodies both intentional and unintentional as often as fedoras and trenchcoats.

Used correctly a proper setting can transcend even this role–can become a character in its own right, and can help drive your story, making your fiction evocative, engaging, and (most importantly for your readers) compelling.

Think for a moment about your favorite crime fiction writers. No matter who they are, odds are good that one of the reasons, perhaps one you've not considered before, is their compelling settings.

Just a few contemporary ones that come to mind for me: the Los Angeles of Michael Connelly and Robert Crais. The Chicago of  Sara Paretsky, Sean Chercover and Marcus Sakey. Boston seen through the eyes of Robert B. Parker. Ken Bruen's Ireland. Al Guthrie's Scotland. Carl Hiassen's Miami. Bill Cameron's Portland.

And of course there are the long gone settings highlighted in the gems of the old masters. These and others read like lexical snapshots from the past.Who can forget passages like:

The city wasn't pretty. Most of its builders had gone in for gaudiness. Maybe they had been successful at first. Since then the smelters whose brick stacks stuck up tall against a gloomy mountain to the south had yellow-smoked everything into uniform dinginess. The result was an ugly city of forty thousand people, set in an ugly notch between two ugly mountains that had been all dirtied up by mining. Spread over this was a grimy sky that looked as if it had come out of the smelters' stacks.

—Dashiell Hammett, Red Harvest

Or this one from Raymond Chandler's Farewell, My Lovely:

1644 West 54th Place was a dried-out brown house with a dried-out brown lawn in front of it. There was a large bare patch around a tough-looking palm tree. On the porch stood one lonely wooden rocker, and the afternoon breeze made the unpruned shoots of last year's poisettias tap-tap against the cracked stucco wall. A line of stiff yellowish half-washed clothes jittered on a rusty wire in the side yard.

And no one did it better than Ross Macdonald:

The city of Santa Teresa is built on a slope which begins at the edge of the sea and rises more and more steeply toward the coastal mountains in a series of ascending ridges. Padre Ridge is the first and lowest of these, and the only one inside the city limits.

It was fairly expensive territory, an established neighborhood of well-maintained older houses, many of them with brilliant hanging gardens. The grounds of 1427 were the only ones in the block that looked unkempt. The privet hedge needed clipping. Crabgrass was running rampant in the steep lawn.

Even the house, pink stucco under red tile, had a disused air about it. The drapes were drawn across the front windows. The only sign of life was a house wren which contested my approach to the veranda.

— Ross Macdonald, Black Money

In each of the passages excerpted above the author has used a description of the setting as a tip-off to the reader as to what manner of characters would inhabit such places. Even hints at what lies ahead for both protagonist and reader.

With Hammett it's the stink of the corruption that always follows on the heels of a rich mineral strike. With Chandler, it's a life worn-out by too much living. And with Macdonald, it's a world and its inhabitants as out of sorts as those hedges that need clipping.

Brilliant thumbnail sketches each. If you haven't read them, you owe it to yourself to do so. And each of them was giving the reader a glimpse of a world they had experienced first-hand, if not a contemporary view, then at least one they could dredge up and flesh out from memory.

With the stuff I write it's not that simple.

In his kind note introducing me to the readers of this blog, our man Lopresti mentioned that when it comes to fiction, my particular bailiwick is historical mystery. In my time mining this particular vein of fiction I've experienced first-hand the challenge of delivering to readers strong settings for stories set in a past well before my time.

How to accomplish this?

It's tricky. Here's what I do.

I try to combine exhaustive research with my own experiences and leaven it all with a hefty dose of the writer's greatest tool: imagination.

"Counting Coup," the first historical mystery story I ever wrote, is about a group of people trapped in a remote southwest Montana railway station by hostile Cheyenne warriors during the Cheyenne Uprising of 1873. I used the three-part formula laid out above.

1. While pursuing my Master's in history, I'd done a ton of research on the western railroads, their expansion, and its impact on Native American tribes in the region, including the Cheyenne.
2. I've visited southwestern Montana many times, and the country is largely unchanged, so I had a good visual image to work from.
3. Imagination!

An example of the end result:

Wash and Chance made it over the rise and and into the valley of the Gallatin just ahead of that storm. It had taken three days of hard riding to get to the railhead, and the horses were all but played out.

The entire last day finished setting their nerves on edge. What with the smoke signals and the tracks of all the unshod ponies they'd seen, there was enough sign to make a body think he was riding right through the heart of the Cheyenne Nation.

Stretching away to north and south below them lay the broad flood plain of the Gallatin. The river itself meandered along the valley floor, with the more slender, silver ribbon of rail line mirroring it, running off forever in either direction. The reds of the tamarack and the golds of the aspen and the greens of the fir created a burst of color on the hills that flanked the river on either side, their hues all the more vivid when set against the white of the previous evening's uncharacteristically early snowfall. 

"Suicide Blonde," another of my historical mystery stories, is set in 1962 Las Vegas. Again, the formula.

1. I did plenty of research on Vegas up to and including this time when Sinatra and his buddies strutted around like they owned the place.
2. I lived and worked in Vegas for a couple of years and have been back a few times since. I am here to tell you, Vegas is one of those places that, as much as it changes, doesn't really change.
3. Imagination!

Which gets you:

Because the Hoover boys had started tapping phones left and right since the big fuss at Apalachin a few years back, Howard and I had a system we used when we needed to see each other outside of the normal routine. If one of us suggested we meet at the Four Queens, we met at Caesar's. If the California, then we'd go to the Aladdin, and so on. We also agreed to double our elapsed time till we met, so when I said twenty minutes, that meant I'd be there in ten. We figured he had a permanent tail anyway, but it was fun messing with the feds, regardless.

The Strip flashed and winked and beckoned to me off in the distance down Desert Inn as I drove to Caesar's. It never ceases to amaze me what a difference the combination of black desert night, millions of lights, and all that wattage from Hoover Dam made, because Las Vegas looked so small and ugly and shabby in the day time. She used the night and all those bright lights like an over-age working girl uses a dimply lit cocktail lounge and a heavy coat of makeup to ply her trade.

Howard liked Caesar's. We didn't do any of the regular business there, and Howard liked that, too. Most of all, Howard liked the way the place was always hopping in the months since Sinatra took that angry walk across the street from the Sands and offered to move his act to Caesar's. Howard didn't really care to run elbows with the Chairman and his pack, he just liked talking in places where the type of noise generated by their mere presence could cover our conversations.

You may have noticed that in both examples used above I've interspersed description of the setting with action, historical references and plot points. That's partly stylistic and partly a necessity. I rarely find straight description engaging when I'm reading fiction (in the hands of a master such as Hemingway, Chandler or Macdonald that's another story, but they tend to be the exception), so I try to seamlessly integrate it into the narrative. Also, since I'm attempting to evoke a setting that is lost to the modern reader in anything but received images, I try to get into a few well-placed historical references that help establish the setting as, say, not just Las Vegas, but early 1960s Las Vegas. Doing so in this manner can save a writer of historical mysteries a whole lot of trying to tease out these sorts of details in dialogue (and boy, can that sort of exposition come across as clunky if not handled exactly right!).

So there you have it: an extended rumination on the importance of one of the most overlooked and powerful tools in your writer's toolbox: setting. The stronger you build it, the more your readers will thank you for it, regardless of genre, regardless of time period.

Because setting is both ubiquitous and timeless. Easy to overdo and certainly easy to get wrong. But when you get it right, your story is all the stronger for it!