About four years ago, I got laid off from the job I held for fourteen years. I had severance, so this actually turned out to be good. After about four months, though, I'd started to lose interest in everything. Especially writing.
It had been a few years since my original publisher imploded, and my then agent failed to sell Road Rules, the Leonardesque road trip caper I'd written on a dare. I had no clue what to do next, and I didn't really care. I fired my agent and decided to just give up writing.
Fast forward about six months. New job doing what I'd trained for instead of being stuck doing only what my old employer wanted me to do. I started to get an interest in writing again, but what to write. A new Nick Kepler novel? A follow-up to Road Rules? A pre-9/11 thriller I'd been toying with? None of these really captured my interest. But I wanted to write.
Finally, I just sat down and wrote the autobiography of a rock musician character a friend and I used to kick around when we were in our late teens. The beginning was interesting, reminding me of one of those Stephen King novels that flash back to the characters' childhood days. The real challenge was writing the character in the late fifties and early sixties as a kid and giving him time in Vietnam. And then one weekend, with nothing scheduled or planned, I sat down to write about his adventures in late sixties London.
When I stopped on Sunday evening that weekend, I'd written 17,000 words. Not 17,000 words total in the manuscript. 17,000 words from Friday evening all the way to Sunday.
Very rarely does anyone write that much, and I wouldn't submit these pages for any publication. Besides, I borrow liberally several historical figures, some of whom are still alive.
Since that time, the book or mock autobiography or whatever you want to call it has served to give me time writing original work when I'm between projects. It also had an interesting side benefit. I soon was rereading the next novel I wanted to submit for publication (for which I now owe an agent revisions). I started writing almost constantly.
I've always heard that one should write through writers block. That's actually the easy part. The hard part is finding what to write.
Showing posts with label T.S. Hottle. Show all posts
Showing posts with label T.S. Hottle. Show all posts
13 November 2014
30 September 2014
Fast Eddie
Once upon a time, a man named "Fast Eddie" Watkins could get in and out of banks quickly, relieving them of cash, and usually not harming anyone. He became one of Cleveland's most notorious criminals, and that says a lot in my hometown. Cleveland had the Torso Killer. Its suburbs produced Jeffrey Dahmer while the Tremont neighborhood spawned notorious kidnapper Ariel Castro. A branch of the Genovese crime family ran the underworld for years, and Irish mobster Danny Green met a fiery end when his car exploded leaving a union hall in the late 1970's. So, yeah. The Northcoast has hosted its share of thugs and monsters.
But we always had a soft spot for Fast Eddie. Sure, he robbed banks. But he was a gentleman thief. In and out, and he loved the publicity. The Plain Dealer, The Press (infamous for its shoddy reporting of the Sam Sheppard murder case), and the local TV stations faithfully recounted his exploits. In a city more famous for its burning river and its serial killers, Watkins developed a Robin Hood reputation.
The one time Fast Eddie's robbery didn't go so well, he took 9 hostages. After 21 hours, though, he let everyone go and surrendered. The feds sent him to prison in Atlanta. He escaped, and therein is where Fast Eddie crossed a very young Jim Winter's path.
South of the exurb where I grew up, there is, to this day, a stretch of potato fields called The Muck, a handful of rock quarries, and cornfields all sandwiched between the CSX and Norfolk Southern railroads. We used to ride our bikes out through there, headed for the tiny little freeway burg of Burbank. Only one day, the local police stopped us.
"Why can't we ride out to Burbank?" I asked the Lodi cop at the roadblock.
"We got a bank robber cornered out past the rock quarry."
I went home. At 6:00, WEWS led their news broadcast with the standoff between Fast Eddie Watkins and the Medina County Sheriff. By 7, Fast Eddie was in custody and headed back to prison.
Watkins never hid the fact that he was a bank robber. He said he enjoyed it. "I wanted to be a big shot," he confessed. His illegal withdrawals helped finance his lavish lifestyle. So where did he keep his money?
"I trust banks with my money. They're insured. It's the best place in the world to put your money."
But was it the money? Watkins wife once said no. Mrs. Watkins said that Fast Eddie ogled banks the way most men ogled girls.
But even in prison with his criminal career over, Watkins remained a character. The Cleveland papers occasionally reported that Fast Eddie had taken up painting while behind bars, favoring landscapes.
Fast Eddie died in 2002 at the age of 82 after a long battle with heart and lung disease. Unlike the bank robbers of an earlier era, going out in a blaze of glory wasn't for him.
But we always had a soft spot for Fast Eddie. Sure, he robbed banks. But he was a gentleman thief. In and out, and he loved the publicity. The Plain Dealer, The Press (infamous for its shoddy reporting of the Sam Sheppard murder case), and the local TV stations faithfully recounted his exploits. In a city more famous for its burning river and its serial killers, Watkins developed a Robin Hood reputation.
The one time Fast Eddie's robbery didn't go so well, he took 9 hostages. After 21 hours, though, he let everyone go and surrendered. The feds sent him to prison in Atlanta. He escaped, and therein is where Fast Eddie crossed a very young Jim Winter's path.
South of the exurb where I grew up, there is, to this day, a stretch of potato fields called The Muck, a handful of rock quarries, and cornfields all sandwiched between the CSX and Norfolk Southern railroads. We used to ride our bikes out through there, headed for the tiny little freeway burg of Burbank. Only one day, the local police stopped us.
"Why can't we ride out to Burbank?" I asked the Lodi cop at the roadblock.
"We got a bank robber cornered out past the rock quarry."
I went home. At 6:00, WEWS led their news broadcast with the standoff between Fast Eddie Watkins and the Medina County Sheriff. By 7, Fast Eddie was in custody and headed back to prison.
Watkins never hid the fact that he was a bank robber. He said he enjoyed it. "I wanted to be a big shot," he confessed. His illegal withdrawals helped finance his lavish lifestyle. So where did he keep his money?
"I trust banks with my money. They're insured. It's the best place in the world to put your money."
But was it the money? Watkins wife once said no. Mrs. Watkins said that Fast Eddie ogled banks the way most men ogled girls.
But even in prison with his criminal career over, Watkins remained a character. The Cleveland papers occasionally reported that Fast Eddie had taken up painting while behind bars, favoring landscapes.
Fast Eddie died in 2002 at the age of 82 after a long battle with heart and lung disease. Unlike the bank robbers of an earlier era, going out in a blaze of glory wasn't for him.
09 September 2014
The Places You've Never Been
I will be revising a novel I'd been working on forever soon. Which is going to be fun. It takes place in a city in Ohio called Monticello. Monticello came about as an exercise in world building. I can tell you the history of the place, who all the landmarks are named for, and that, if you own a Passat or a Jetta, it wasn't built there.
If the name sounds familiar beyond the reference to Thomas Jefferson's estate, I admit I lifted it. Once upon a time, when I was much shorter, there was a soap opera called Edge of Night. Like Dark Shadows, Edge was genre-based rather than hospital melodrama like most other soaps. Unlike Dark Shadows, it was a crime show. Set in a city called Monticello, the series existed in a Midwestern state so generic that it's capital was Capital City. The skyline in the opening credits was actually Cincinnati, home of Procter & Gamble which produced the show. (Except for its final two seasons, when LA was used.) But it's not the only fictional city that crime aficionados have adopted.
Sue Grafton's Kinsey Millhonne lives in Santa Teresa, which looks suspiciously like Santa Barbara. While Santa Teresa does not exist, Kinsey shares the town with another PI, Lew Archer. That should be no surprise. Archer's creator Ross McDonald also used the name for a fictionalized Santa Barbara. And Grafton did know McDonald in his later years. Santa Teresa is so real, thanks to Grafton, that many people look for it while driving down Highway 101. Read enough of the novels, and you can see downtown and the seedy Hungarian restaurant where Kinsey would be treated to goulash.
Take it a step further. Hill Street Blues, the classic police show from the 1980's, took place in a city even more generic than Edge of Night's fictional state. It had a Major League baseball team, but even the team was never named. Still, the city was quintessentially Midwest without looking like a thinly disguised LA or Chicago (or Toronto, which has doubled for several American cities.) It's amazing how Hill Street made its city look so real without giving any clue as to where it was.
But the mack daddy of fictional towns?
That would be Ed McBain's Isola. Many people assume Isola is the name of McBain's fictitious city, but actually, it's a borough (a word McBain never uses) roughly analogous to Manhattan. The City is and yet is not New York. Indeed, many 87th Precinct movies have been shot in, and sometimes set in, New York. Yet the precinct, even the other boroughs, have distinct characters all their own. One wonders if the City is sandwiched between Metropolis and Gotham City.
What makes a fictional city real to a reader? A sense of place. When neighborhoods and landmarks are described as though the author might have lived there, it makes the setting a character unto itself. Similarly, giving a fictional place a history gives it a life of its own. There's a reason certain names pop up on streets, schools, and landmarks. The reader may never know why, but if the writer does, it creates a sort of randomness that's hard to duplicate otherwise.
So where is your favorite place you've never been?
If the name sounds familiar beyond the reference to Thomas Jefferson's estate, I admit I lifted it. Once upon a time, when I was much shorter, there was a soap opera called Edge of Night. Like Dark Shadows, Edge was genre-based rather than hospital melodrama like most other soaps. Unlike Dark Shadows, it was a crime show. Set in a city called Monticello, the series existed in a Midwestern state so generic that it's capital was Capital City. The skyline in the opening credits was actually Cincinnati, home of Procter & Gamble which produced the show. (Except for its final two seasons, when LA was used.) But it's not the only fictional city that crime aficionados have adopted.
Sue Grafton's Kinsey Millhonne lives in Santa Teresa, which looks suspiciously like Santa Barbara. While Santa Teresa does not exist, Kinsey shares the town with another PI, Lew Archer. That should be no surprise. Archer's creator Ross McDonald also used the name for a fictionalized Santa Barbara. And Grafton did know McDonald in his later years. Santa Teresa is so real, thanks to Grafton, that many people look for it while driving down Highway 101. Read enough of the novels, and you can see downtown and the seedy Hungarian restaurant where Kinsey would be treated to goulash.
Take it a step further. Hill Street Blues, the classic police show from the 1980's, took place in a city even more generic than Edge of Night's fictional state. It had a Major League baseball team, but even the team was never named. Still, the city was quintessentially Midwest without looking like a thinly disguised LA or Chicago (or Toronto, which has doubled for several American cities.) It's amazing how Hill Street made its city look so real without giving any clue as to where it was.
But the mack daddy of fictional towns?
That would be Ed McBain's Isola. Many people assume Isola is the name of McBain's fictitious city, but actually, it's a borough (a word McBain never uses) roughly analogous to Manhattan. The City is and yet is not New York. Indeed, many 87th Precinct movies have been shot in, and sometimes set in, New York. Yet the precinct, even the other boroughs, have distinct characters all their own. One wonders if the City is sandwiched between Metropolis and Gotham City.
What makes a fictional city real to a reader? A sense of place. When neighborhoods and landmarks are described as though the author might have lived there, it makes the setting a character unto itself. Similarly, giving a fictional place a history gives it a life of its own. There's a reason certain names pop up on streets, schools, and landmarks. The reader may never know why, but if the writer does, it creates a sort of randomness that's hard to duplicate otherwise.
So where is your favorite place you've never been?
19 August 2014
Don Quixote, PI
When people talk about the PI, they always trace the character back to three writers: Dashiell Hammett, Raymond Chandler, and Ross MacDonald. Most people think the modern PI is based on Hammett's Continental Op. But you have to go farther back than that. Sherlock Holmes?
Well, yes, Holmes's fingerprints are all over the modern PI. He even has an erudite, if seemingly less intelligent, sidekick, the brainier forerunner of the psycho sidekick popularized in the Spenser and Dennis Lehane novels. But you have to go farther back. And I mean farther back than Poe's August Dupin, considered the first modern detective character.
No, the PI is a knight-errant, righting wrongs, defending the weak, and dispensing justice. The knight-errant was around for centuries, springing from stories of Siegfried the dragon-slayer, of Roland and Charlemagne, of the various knights of Camelot. But the archetype wasn't truly solidified until Miguel de Cervantes's comic novel, The Ingenious Gentleman Don Quixote of La Mancha (which I plan to review this Friday.)
[Cue needle across vinyl.] "Duh... What? Don Quixote was nuts! And his sidekick was equal parts wise and ignorant."
Yes, well...
The comic aspect of that dynamic did not really repeat on a grand scale until the classic 1980's sitcom, Blackadder. In the beginning, Prince Edmund, the Black Adder, is more bungling than mad, and sidekick Baldric is much smarter than he appears, frequently saving the hapless prince from himself. Later, the roles were flipped, and Blackadder became an evil version of Holmes - arrogant, clever, and just as sarcastic - while Baldric became the embarrassingly dimwitted sidekick who always had "a cunning plan" (that always ended in disaster.)
So what's this have to do with the PI?
Think about Holmes, particularly as portrayed at present by Messrs. Downey, Cummerbatch, and Miller. The modern depictions of Holmes have more in common with Blackadder than in prior decades, while Watson is portrayed as long-suffering and sometimes the source of Holmes' brilliance. This was Doyle's original vision of the pair, and you can draw a direct line back to Don Quixote and Sancho Panza. But whereas the don was off his rocker and Sancho had a simple view of the world, the impulses were the same: Quixote, like Holmes and like every PI character who followed him, loathes injustice and wants to see things set right. Panza, like Watson and the later stock psycho sidekicks, sees Quixote's (or Holmes's or Spenser's or Patrick and Angie's) mission as noble, though often has to show great patience standing in his brilliant partner's shadow.
The motivations and the levels of intelligence change. Even the personal missions change. Spenser, never mind Holmes, could not have thrived in the time of King Arthur or Charlemagne. And the whole thrust of Don Quixote's story is that the knight-errant was already part of a fictional past.
The PI is not the only evolution of Don Quixote, but it's the most obvious. Fans of Doctor Who can pick up on Quixote's madness in the Doctor, but it's darker and more bizarre. And more intentional.
So Don Quixote is still alive. When the PI is done right, the character taps into that zeitgeist. When it's not, he or she is simply parroting the Op and Marlowe.
Well, yes, Holmes's fingerprints are all over the modern PI. He even has an erudite, if seemingly less intelligent, sidekick, the brainier forerunner of the psycho sidekick popularized in the Spenser and Dennis Lehane novels. But you have to go farther back. And I mean farther back than Poe's August Dupin, considered the first modern detective character.
No, the PI is a knight-errant, righting wrongs, defending the weak, and dispensing justice. The knight-errant was around for centuries, springing from stories of Siegfried the dragon-slayer, of Roland and Charlemagne, of the various knights of Camelot. But the archetype wasn't truly solidified until Miguel de Cervantes's comic novel, The Ingenious Gentleman Don Quixote of La Mancha (which I plan to review this Friday.)
[Cue needle across vinyl.] "Duh... What? Don Quixote was nuts! And his sidekick was equal parts wise and ignorant."
Yes, well...
The comic aspect of that dynamic did not really repeat on a grand scale until the classic 1980's sitcom, Blackadder. In the beginning, Prince Edmund, the Black Adder, is more bungling than mad, and sidekick Baldric is much smarter than he appears, frequently saving the hapless prince from himself. Later, the roles were flipped, and Blackadder became an evil version of Holmes - arrogant, clever, and just as sarcastic - while Baldric became the embarrassingly dimwitted sidekick who always had "a cunning plan" (that always ended in disaster.)
So what's this have to do with the PI?
Think about Holmes, particularly as portrayed at present by Messrs. Downey, Cummerbatch, and Miller. The modern depictions of Holmes have more in common with Blackadder than in prior decades, while Watson is portrayed as long-suffering and sometimes the source of Holmes' brilliance. This was Doyle's original vision of the pair, and you can draw a direct line back to Don Quixote and Sancho Panza. But whereas the don was off his rocker and Sancho had a simple view of the world, the impulses were the same: Quixote, like Holmes and like every PI character who followed him, loathes injustice and wants to see things set right. Panza, like Watson and the later stock psycho sidekicks, sees Quixote's (or Holmes's or Spenser's or Patrick and Angie's) mission as noble, though often has to show great patience standing in his brilliant partner's shadow.
The motivations and the levels of intelligence change. Even the personal missions change. Spenser, never mind Holmes, could not have thrived in the time of King Arthur or Charlemagne. And the whole thrust of Don Quixote's story is that the knight-errant was already part of a fictional past.
The PI is not the only evolution of Don Quixote, but it's the most obvious. Fans of Doctor Who can pick up on Quixote's madness in the Doctor, but it's darker and more bizarre. And more intentional.
So Don Quixote is still alive. When the PI is done right, the character taps into that zeitgeist. When it's not, he or she is simply parroting the Op and Marlowe.
10 June 2014
A Place In History
I was telling my son a few months back about a story idea that had occurred to me. It would draw from my days in the army when I was stationed in what was then known as West Germany, or the Federal Republic. He listened politely, then observed with a snort, that I was writing a "historical." With that single word I suddenly realized that my earlier life had entered the slipstream of history. It was a sobering thought that carried with it undertones of pending mortality--my pending mortality.
"Smartass," I replied, my ancient and inflexible brain unable to come up with a pithier rejoinder. This was the same son who had been born in Germany, though he recalls very little of our time there. And since this piece concerns itself with history, it is worth noting that Robin gave birth to him at Landstuhl Military Hospital while survivors of the Marine Barracks bombing in Beirut were being cared for there. Two hundred and forty one marines died in that attack, an incident I would later be moved to write about in a story titled, "Ibrahim's Eyes."
Later that evening, I unearthed some photographs from that time and place. They were pre-digital and had acquired a yellowish patina. The people captured in these snapshots bore a strange resemblance to my own family and myself. I was relieved to note that other than the deep lines in my face, my hair having gone completely gray, and a sagging neckline, that I had hardly changed since these pictures were taken. I was about the same age then as my son is now. The time was the early 1980's.
In one photo, my family and I stand beneath a sign for the town, or stadt, of St. Julian, holding an infant of the same name, the male heir and aforementioned future smartass. We look healthy and happy even though we are in a strange land through no desire of our own. The assignment was for three years--the army would involuntarily extend it by six months (I was that necessary to the effort). We knew no one and were a very long way from our families. Letters took a long time to transit the mighty ocean, and phone calls to friends and loved ones were hideously expensive for a G.I. supporting a family of five. I would spend weeks away on training maneuvers. Still, we managed to make a great time of it, for which I mostly credit my imaginative and indefatigable wife.
My father had also been to Germany courtesy of the U.S. Army (more history), having arrived on Normandy Beach on D-Day and fighting his way into the Fatherland. Naturally, he had some assistance in this--I believe a cook accompanied him. It was funny to think of myself there so many years later. The barracks my unit was assigned to had been formerly occupied by Nazi troops; our artillery range established by the same. Even so, there were many, many differences between our visits--the most obvious being that no one was actively shooting at us. The main threat was now the Soviets and their allies. Both the East Germans and the Czechoslovakians manned the borders between the American and Soviet spheres, while the West Germans, and us, manned our side. I'm not sure that the Germans loved us exactly, but they liked us a lot better than the alternative.
That being said, there were radical groups within the Federal Republic that were dedicated to the expansion of communism throughout the west, and by any means possible. Two of these, the Baader-Meinhof Gang (they called themselves the Red Army Faction), and the RZ, or Revolutionary Cells, could be extremely violent. Throughout the late sixties, seventies, and eighties, they were responsible for a number of bombings, murders, kidnappings, bank robberies, and airline hijackings. They trained and networked with several middle-eastern terrorist groups; their ideological brethren in Italy and France, and received money and logistical support from the East German Secret Police, the feared Stasi. They succeeded on several occasions in bombing American military bases; killing and wounding both soldiers and civilians. They were no less savage with their fellow Germans. We were cautioned to examine our cars, if we owned one, before putting a key in the ignition. That seemed good advice to me.
Meanwhile, I functioned as an intelligence analyst assigned to the 8th Infantry Division Artillery. Not very glamorous or exciting. My vast knowledge of Soviet tactics, equipment, weapons, and training, however, were largely responsible for discouraging the Russians from doing anything foolish. They realized early on that they were simply outclassed. You may recall that the Iron Curtain would crumble altogether within a few years of my arrival in Europe.
Now, a few decades later, I contemplate fashioning a novel out of that distant time and faraway place. Even to me, it now seems as if this were another world altogether--quaint, if somewhat dangerous. The Soviet Union no longer exists, and its demise led to the birth (or rebirth) of dozens of nations. Germany has been reunited. Czechoslovakia has been disjointed; the face of Europe made completely foreign to my time there. Yet, I was there and an actual participant. And though it did not appear unique to me as I was living it, it became history even so.
Shortly after I wrote this, the Russian Bear reentered the world stage in the Crimea and is growling at the Ukraine. Perhaps my experiences are not so remote in time as they seemed. History keeps happening and I'm expecting a call from Washington any minute now, "Dean...we need you...we need you now!"
Switching focus here: As most of you know, Dale Andrews was injured in the line of duty, so to speak, and is now on hiatus. We have discovered that to replace him required the talents of not one, but two, able-bodied writers: Stephen Ross and Jim Winter, both of whom have graced us with their talents of late. They have graciously consented to share the yoke on a semi-permanent basis.
Next Tuesday, June 17th, Stephen, through the miracle of the internet, will appear among us all the way from New Zealand. Or at least his blog will. Stephen will probably remain in his native land. But I don't know, as I have heard that his people have harnessed powers that the rest of us can only dream of. Jim, who is an Ohioan, and speaks a dialect of our language, will share his thoughts with us on the following Tuesday, June the 24th. From there on out, Tuesdays will rotate between the three of us. Please give our new co-conspirators a round of virtual applause, and tune in on Tuesdays for exceptional, and once again international, entertainment!
"Smartass," I replied, my ancient and inflexible brain unable to come up with a pithier rejoinder. This was the same son who had been born in Germany, though he recalls very little of our time there. And since this piece concerns itself with history, it is worth noting that Robin gave birth to him at Landstuhl Military Hospital while survivors of the Marine Barracks bombing in Beirut were being cared for there. Two hundred and forty one marines died in that attack, an incident I would later be moved to write about in a story titled, "Ibrahim's Eyes."
Later that evening, I unearthed some photographs from that time and place. They were pre-digital and had acquired a yellowish patina. The people captured in these snapshots bore a strange resemblance to my own family and myself. I was relieved to note that other than the deep lines in my face, my hair having gone completely gray, and a sagging neckline, that I had hardly changed since these pictures were taken. I was about the same age then as my son is now. The time was the early 1980's.
In one photo, my family and I stand beneath a sign for the town, or stadt, of St. Julian, holding an infant of the same name, the male heir and aforementioned future smartass. We look healthy and happy even though we are in a strange land through no desire of our own. The assignment was for three years--the army would involuntarily extend it by six months (I was that necessary to the effort). We knew no one and were a very long way from our families. Letters took a long time to transit the mighty ocean, and phone calls to friends and loved ones were hideously expensive for a G.I. supporting a family of five. I would spend weeks away on training maneuvers. Still, we managed to make a great time of it, for which I mostly credit my imaginative and indefatigable wife.
My father had also been to Germany courtesy of the U.S. Army (more history), having arrived on Normandy Beach on D-Day and fighting his way into the Fatherland. Naturally, he had some assistance in this--I believe a cook accompanied him. It was funny to think of myself there so many years later. The barracks my unit was assigned to had been formerly occupied by Nazi troops; our artillery range established by the same. Even so, there were many, many differences between our visits--the most obvious being that no one was actively shooting at us. The main threat was now the Soviets and their allies. Both the East Germans and the Czechoslovakians manned the borders between the American and Soviet spheres, while the West Germans, and us, manned our side. I'm not sure that the Germans loved us exactly, but they liked us a lot better than the alternative.
That being said, there were radical groups within the Federal Republic that were dedicated to the expansion of communism throughout the west, and by any means possible. Two of these, the Baader-Meinhof Gang (they called themselves the Red Army Faction), and the RZ, or Revolutionary Cells, could be extremely violent. Throughout the late sixties, seventies, and eighties, they were responsible for a number of bombings, murders, kidnappings, bank robberies, and airline hijackings. They trained and networked with several middle-eastern terrorist groups; their ideological brethren in Italy and France, and received money and logistical support from the East German Secret Police, the feared Stasi. They succeeded on several occasions in bombing American military bases; killing and wounding both soldiers and civilians. They were no less savage with their fellow Germans. We were cautioned to examine our cars, if we owned one, before putting a key in the ignition. That seemed good advice to me.
Meanwhile, I functioned as an intelligence analyst assigned to the 8th Infantry Division Artillery. Not very glamorous or exciting. My vast knowledge of Soviet tactics, equipment, weapons, and training, however, were largely responsible for discouraging the Russians from doing anything foolish. They realized early on that they were simply outclassed. You may recall that the Iron Curtain would crumble altogether within a few years of my arrival in Europe.
 |
| My Soviet Counter-Part |
Now, a few decades later, I contemplate fashioning a novel out of that distant time and faraway place. Even to me, it now seems as if this were another world altogether--quaint, if somewhat dangerous. The Soviet Union no longer exists, and its demise led to the birth (or rebirth) of dozens of nations. Germany has been reunited. Czechoslovakia has been disjointed; the face of Europe made completely foreign to my time there. Yet, I was there and an actual participant. And though it did not appear unique to me as I was living it, it became history even so.
Shortly after I wrote this, the Russian Bear reentered the world stage in the Crimea and is growling at the Ukraine. Perhaps my experiences are not so remote in time as they seemed. History keeps happening and I'm expecting a call from Washington any minute now, "Dean...we need you...we need you now!"
Switching focus here: As most of you know, Dale Andrews was injured in the line of duty, so to speak, and is now on hiatus. We have discovered that to replace him required the talents of not one, but two, able-bodied writers: Stephen Ross and Jim Winter, both of whom have graced us with their talents of late. They have graciously consented to share the yoke on a semi-permanent basis.
Next Tuesday, June 17th, Stephen, through the miracle of the internet, will appear among us all the way from New Zealand. Or at least his blog will. Stephen will probably remain in his native land. But I don't know, as I have heard that his people have harnessed powers that the rest of us can only dream of. Jim, who is an Ohioan, and speaks a dialect of our language, will share his thoughts with us on the following Tuesday, June the 24th. From there on out, Tuesdays will rotate between the three of us. Please give our new co-conspirators a round of virtual applause, and tune in on Tuesdays for exceptional, and once again international, entertainment!
21 March 2013
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.
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.
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.
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.
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!
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.
- 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.
- I've visited southwestern Montana many times, and the country is largely unchanged, so I had a good visual image to work from.
- Imagination!
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.
- 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.
- 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.
- Imagination!
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!
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