Genres | CW Hawes

The Paranormal Investigator

Last week we took a look at the paranormal phenomenon in literature. The week I want to focus on the occult detective. Or in today’s parlance, the Paranormal Detective.

Edgar Allan Poe created the detective genre with his amateur sleuth, C. Auguste Dupin. It can easily be said that mother and son writing team, E. and H. Heron created the occult detective sub-genre with their Flaxman Low stories.

After Low’s introduction, a steady steam of occult detectives appeared on the literary scene. Some of them are:

Dr John Silence, created by Algernon Blackwood

Thomas Carnacki, created by William Hope Hodgson

Aylmer Vance, created by Alice and Claude Askew

Moris Klaw, created by Sax Rohmer

Jules de Grandin, created by Seabury Quinn

Steve Harrison, created by Robert E Howard

John Thunstone, created by Manly Wade Wellman

Dr Alex Caspian, created by Joseph Payne Brennan

Dirk Gently, created by Douglas Adams

Repairman Jack, created by F. Paul Wilson

The occult detective has also appeared on TV in shows such as Kolchak: The Night Stalker, Penny Dreadful, Twin Peaks, Angel, and, of course, The X-Files.

Twin Peaks and The X-Files gave a little twist to the occult detective genre by having the investigators FBI agents. The government was now involved, one way or the other, in the investigation of supernatural occurrences.

I grew up in the 50s and 60s. The UFO scare and the talk of government cover-ups was news. I remember reading of sightings, or watching reports on TV, along with the usual government “explanation”. I read books on UFOs “proving” their existence. Circumstantial evidence to be sure. But if it looks like a duck, walks like a duck…

Consequently, since writers write mostly about what they know, it was only a matter of time before my Muse gave me Pierce Mostyn and the Federal Office of Unidentified Phenomena. A Federal uber-secret agency whose purpose is to investigate and determine the threat level of those things that go bump in the night, and eliminate them if need be.

And what greater terror can there be, the greatest of those things that go bump in the night, then the Great Cthulhu and his ilk?

Lovecraft, in The Shadow Over Innsmouth, intimated that the Federal government was indeed interested in and sought to cover-up the existence of The Great Old Ones.

Pierce Mostyn and the Office of Unidentified Phenomena are a natural riff on Lovecraft and the government investigations and cover-ups alluded to in Lovecraft’s stories, Twin Peaks, and The X-Files. Along with being more action-oriented than those three predecessors.

Today, if you search Amazon, you’ll quickly see that the current crop of writers use the terms paranormal detective, or paranormal investigator.

The occult and supernatural are out, and the paranormal is in — at least as far as being a category identifier is concerned. So if you’re a writer writing about the occult and supernatural, just call it the paranormal and you should be alright.

Before I go, I do want to shine a spotlight on two excellent paranormal investigator reads. They are Herkimer’s Nose and Tony Price: Confidential (which is all three Tony Price volumes in one book). Richard Schwindt is an amazing storyteller. You won’t regret spending the 3 bucks to get these books.

Comments are always welcome! And until next time, happy reading!

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The Paranormal

I’m taking a bit of a break in our series Good Books You Probably Never Heard Of to talk about the Paranormal. Mostly because later this month I’ll be publishing the fourth Pierce Mostyn Paranormal Investigation. And I want to share with you some thoughts regarding this category.

Back in the dark ages when I was growing up, we didn’t use the word “paranormal” all that often. We used “supernatural” and “occult”. I’m still inclined to use those words rather than “paranormal”. But I also want to sell books. And if the “in” word is paranormal – then, so be it.

Hence the series is about Pierce Mostyn’s Paranormal Investigations and not his Occult or Supernatural Investigations.

The times move on and language with them.

Today, we have paranormal everything. Just key the word paranormal into the Amazon search box. You’ll get paranormal romance, paranormal mystery, paranormal dating agency, paranormal cozy mystery, paranormal police department, paranormal PIs, paranormal reverse harem (what????), and all those shifter romances.

The paranormal, with or without magic, is hot. One of the reasons I started thinking about writing my own paranormal series last year.

A writer basically has two options when it comes to deciding what to write. Either write about what you love. Or learn to love what you write about.

I tried the latter approach a few decades ago with romance novels. What I learned was I was not going to learn to love writing about love. In fact, I hated it! And subsequently gave up on the idea.

Today, I write what I like or love to read. And that works for me.

I enjoy writing. And I make some sales and get some KU page reads along the way. Which is also nice.

I probably won’t get rich from writing because what I like to read isn’t what is hot. I’ve accepted that. But I haven’t yet thrown in the towel on the idea that I can make some kind of livable income from writing. Which for me is basically a nice supplement to my retirement income. After all there are lots of writers who aren’t on the bestseller lists who make some decent money from their pens.

The idea for Pierce Mostyn came about while I was watching the first season of The X-Files on Netflix. The thought came to me what if there was an uber-secret government agency whose mission was to save us from… From what? I like the Cthulhu Mythos, so why not those bad guys?

The more I thought about it, the more I decided the concept worked for me. And thus Pierce Mostyn and the Office of Unidentified Phenomena was born.

My first inclination was to call the investigations “occult”. Then I told myself, No, they have to be “Paranormal” if you want a chance to make some coin. And so the series became the Pierce Mostyn Paranormal Investigations.

Occult and supernatural literature – or paranormal in today’s parlance – has been popular from the beginning. Stories of monsters, demons, and ghosts. And we are still telling these stories today.

It’s great fun working in an ancient storytelling tradition with a modern twist.

If you haven’t read the Pierce Mostyn series, I urge you to give them a try. I’m quite proud of the books. As one reviewer noted, they’re, “…entertaining and action packed.” And if you subscribe to Kindle Unlimited, you don’t have to pay a cent. Such a deal!

Comments are always welcome! And until next time, happy reading!

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The Detective Novel – Some Authors

I don’t know why bestsellers are touted so much. Quite honestly, I’ve read a lot of bestsellers that weren’t any better, IMO, then your average mid-lister — and a significant number that, again IMO, were just plain bad.

On the other hand, I’ve read quite a few books that are nowhere near bestseller territory and have found them to be truly superb reads. They actually deserve to be bestsellers.

Then we have the whole idea of just exactly what is a bestseller. The New York Times bestseller list is not a list of actual bestsellers. It’s a curated list compiled from specially selected outlets, with a dash of editorial tampering to make sure the “right” books are on the list.

And then we have all of these awards writers brag about receiving. The Science Fiction Writers of America called out Readers Favorites, for example, as being more or less a scam. Pay your money and get a favorable review. Not in so many words, but it’s not hard to read between the lines.

Kirkus isn’t much better. Indie writers can pay $500 and get a review. No guarantees, but who wants to disappoint a paying customer?

So what does all this have to do with detective novels? Last week I said I’d mention a few authors who are lesser lights in the mystery field. What I want to emphasize here is that being on a bestselling list or being an award winning author essentially means nothing.

Neither awards nor a “bestseller” badge is a guarantee that the book is a good read, or that the author can even tell a good story. We are in subjective territory here. It’s all opinion. Just like the popularity contest known as Homecoming King and Queen in high school. For example, scifi/fantasy writer Patty Jansen delivers a good read and she is not a “bestselling” author – by her own admission. And yet she says she makes a decent income.

In the end, the consumer more or less determines success. Although the crowd is fickle. If Shakespeare hadn’t been able to sell tickets to his plays, we wouldn’t even know he existed. And E L James is laughing all the way to the bank for a novel that is basically poorly written fan fiction.

I repeat: the public is fickle and tastes change. And often change rapidly. George Frederic Handel was knocking it out of the park writing Italian opera for London audiences. They couldn’t get enough. Then, suddenly, almost overnight, Londoners got sick of Italian opera. Handel went bankrupt, then discovered English oratorio, and the rest is history. Messiah and the “Hallelujah Chorus” are ever with us.

Dead – And Shouldn’t Be Forgotten

Jacques Futrelle

When I was a kid, I loved Jacques Futrelle’s The Thinking Machine stories. I still remember “The Problem of Cell 13”, a classic locked room study.

Sadly, Futrelle was only 37 when he went down with the Titanic, telling his wife to save herself. Several Thinking Machine manuscripts also lie at the bottom of the Atlantic.

You can get Tales of The Thinking Machine for free. Well worth reading.

Edgar Wallace

One of the most prolific authors ever, today Wallace is a virtual unknown. In his lifetime, he wrote 175 novels, 957 short stories, 18 stage plays, and reams of news reports (he was a journalist), articles, screen plays, poetry, and historical non-fiction. His works sold over 50 million copies, although few are in print today.

His prolificity was due to his dictating his work onto wax cylinders, the dictaphone of his day, and having his secretaries type the dictations. By dictating, he often produced a novel in 2 or 3 days.

Not finding anyone to publish his first novel, he self-published it in 1905; creating his own publishing company, Tallis Press.

Never heard of him? Does King Kong ring a bell?

Wallace died suddenly, while working on King Kong, in 1932 at the age of 56.

Many of Wallace’s books can be found for free online. One source is ebooks@Adelaide, and there are others. He’s worth checking out.

Patricia Wentworth

Agatha Christie is a towering figure to this day, and Patricia Wentworth had the misfortune to live and write when Christie was in her prime. It’s pretty tough living in the shadow of a towering figure.

However, Ms Wentworth was by no means a hack writer. I think she’s on par with Christie, and the Miss Silver mysteries are as good as Christie’s Miss Marple.

What’s more, Miss Silver is a working woman instead of a gossipy busybody. Miss Silver is a private investigator, the forerunner of Sharon McCone, Kinsey Milhone, VI Warshawski, and all the rest.

Faded Page has all the Miss Silver mysteries, except number 4. And best of all, they’re free!

Ngaio Marsh

Ngaio Marsh is another good mystery author who is obscured by Christie’s long shadow.

Her Inspector Roderick Alleyn was a bit unique in the day, because he’s a police detective. While Christie’s detectives are either private investigators or amateurs, we enter the world of the police procedural with Marsh.

Marsh was also heavily involved in the theater and her novels have a certain theatrical flair to them. They are very much worth reading. Check for them on the used market.

A.A. Fish

A.A. Fish is a pseudonym of Erle Stanley Gardner, another prolific author, best known for Perry Mason.

While Gardner and Perry Mason are household names, Fish, Bertha Cool, and Donald Lam, are not.

The Cool and Lam mysteries are good reads. My only complaint is that Bertha gets short shrift most of the time, which is too bad as I think she is far more interesting than Donald Lam. I think Gardner missed a bet here. He could have had something going like Nero Wolfe and Archie Goodwin.

The books are good nonetheless. Get them on the used market.

Richard & Frances Lockridge

Popular in their day, the Lockridges produced scores of novels, all set in the same world, spread across several different series and characters.

Unfortunately time has not been kind to them, and that is a shame. They were good writers. They’re probably best known for the Mr & Mrs North mysteries.

I like Pam and Jerry a lot. New Yorkers with money (Jerry’s a publisher) and a lot of time on their hands, especially Pam, they get embroiled in some very interesting situations and murders. Pam is the one who mostly helps their friend Lieutenant Bill Weigand solve the crime.

Funny and suspenseful, the books are all around good reads. Pam is a most entertaining female sleuth.

You can find a complete list of all of the Lockridges’s works on GoodOleBooks.

Look for these on the used market. They’re very good.

Phoebe Atwood Taylor

Taylor was on one occasion referred to as the Buster Keaton of the mystery genre.

I’ve only read her Leonidas Witherall series. The man who looks like Shakespeare. Asey Mayo, the “Codfish Sherlock”, is her other and more well-known creation.

The Witherall mysteries are zany fun. Something along the lines of the Keystone Cops in book form. Long on laughs and light on the mystery, they are well worth your time if you want something light and not taxing to read.

Catch these on the used market.

Alive – And Need to be Read

There are a number of writers of the traditional detective story today, featuring either amateur or professional sleuths. I’m not acquainted with them all, but I’ll share a selection of those with which I am.

P.F. Ford

Ford’s Dave Slater and Norman Norman mystery series is dynamite. Full of humor and suspense, as well as the mis-adventures of Slater’s love life, Dave and Norman make the quintessential odd couple.

The books are something of a blend of police procedural and cozy. And while there is plenty of humor, the stories can be on the dark side.

Great books. I’ve read the entire series and am champing at the bit for the next one.

You can pick them up on Amazon.

J.P. Choquette

Tayt Waters is a contemporary private investigator who is quite a colorful character.

The mysteries are funny and suspenseful. Clean reads with a lot of grit and a splash of the dark about them.

There are currently 2 Tayt Waters mysteries, I hope more are in the works. You can get them at Amazon.

J.A. Menzies

Menzies’s Manziuk and Ryan mysteries start off with a bang in a classic country estate murder. Shaded Light: The Case of the Tactless Trophy Wife. Who would have thought there were “country” estates in suburban Toronto, but I guess the rich get it all.

Manziuk and Ryan are another odd couple team police procedural team. Much more at odds with each other than Ford’s Slater and Norman. Their goal is to try and work together as a team.

I enjoyed the Golden Age feel in a contemporary setting of Shaded Light and look forward to reading the other books in the series, which may be found on Amazon.

Ellen Seltz

Ms Seltz writes a classic English-style whodunit, complete with that droll understated British humor and memorable characters.

If that’s your cup of tea, then her Mottley and Baker series is for you. Get them on Amazon.

Summing Up

As I’ve noted before, I prefer the traditional whodunit over the thriller. And while thrillers are all the rage these days, I take comfort in the fact that we do have (myself included) writers who wish to carry on the tradition of the classic detective novel.

While the mystery audience is aging (it can be a bit disconcerting to a writer to see your audience dying off), I find hope in younger characters, such as Tayt Waters entering the fray; or mixed race teams such as Manziuk and Ryan, making their appearance; and the contemporary issues Slater and Norman deal with. This approach will help to make the traditional mystery more relevant to a younger audience.

The western died off quickly. But now with the indie revolution, I see the western making a comeback. Not dependent on the bottom lines of big corporations, indie authors can write what they love and target very specific audiences.

While the mystery isn’t dead by any means, I see hope that, like the western, indie authors will give this venerable genre a continued lease on life. And who knows? Tomorrow the thriller just might be passé.

Comments are always welcome! And until next time, happy reading!

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Horror, Weird Fiction, or Dark Fantasy?

I will be launching a new series, probably in the new year. I have the first three books written and am in the editorial process.

Ever since I conceived of the series, I’ve been scratching my head as to what to label it. My inspiration came from The X-Files, Stranger Things, Charles Stross’s The Laundry Files series, and HP Lovecraft (both his Cthulhu Mythos and non-Mythos stories). The series draws on the quasi-scientific, supernatural, and paranormal. There be monsters here! As well as psychological elements of fear and terror.

So what exactly am I writing? Is it horror fiction? Or weird fiction? Or dark fantasy? Maybe it’s dark speculative fiction. Or perhaps it’s simply paranormal fiction.

For the series title I chose the word “paranormal”. Pierce Mostyn Paranormal Investigations. Mostly because “paranormal” anything is hot right now. But as noted above, like The X-Files, Pierce Mostyn investigates the quasi-scientific, the pseudo-scientific, as well as the supernatural and paranormal. Anything that is weird and might be a threat to the good people of the United States of America. See my dilemma?

My old Webster’s New World Dictionary, Second College Edition defines horror as “the strong feeling caused by something frightful or shocking; shuddering fear and disgust; terror and repugnance.” Therefore, a horror story is one that would induce fear, terror, disgust, repugnance, or shock.

Weird, on the other hand, is “suggestive of ghosts, evil spirits, or other supernatural things; unearthly, mysterious, eerie, etc.” The dictionary goes on to say “weird applies to that which is supernaturally mysterious or fantastically strange.” Weird fiction, then, would be fiction that induces a more general feeling of fear or uneasiness. A story that leaves one with an unidentifiable feeling of dread. Although one reviewer on Amazon was of the opinion that weird fiction puts the protagonist into a situation where no choice he or she can make is a good choice. If that is the case, then to my mind weird fiction sidles very close to horror.

Dark means “hidden; secret; not easily understood; obscure; evil; sinister.” So dark fantasy would be fantasy that explores the hidden, secret, evil, or the sinister. And could easily leave the reader with a feeling of dread. Identifiable or not.

The Pierce Mostyn series might induce fear in some, and certainly deals with those things that are hidden, secret, evil, or sinister. The series also explores that which is supernaturally mysterious or fantastically strange.

I suppose it all comes down to what’s my primary intent with the stories. My guess is I’m probably going more for the weird impact than anything else. But then again, each story might be different. Certainly that was the case with The X-Files, or Night Gallery before that, and The Twilight Zone before that.

Any suggestions will be very much appreciated. Please leave them in the comments.

My Interview

On a separate note, my interview with fellow author Andy Graham went live on Thursday, September 7. You can find it at One Book Interviews. The interview was fun and challenging. Trying to find just one book for each of Andy’s questions. Just one. Difficult, a bit of soul searching, and yet fun, because I got to revisit lots of great books in my mind. And put a few on the reread list!

Please, do check out the interview. And while you’re there, take a look around Andy’s site.

Comments are always welcome, and, until next time, happy reading!

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The Rocheport Saga

The Rocheport Saga is part philosophy, part family saga, part satire, part libertarian thought, part action/adventure novel, and all post-apocalyptic speculation. It is my contribution to the cozy catastrophe sub-genre of post-apocalyptic fiction.

The story structure is that of one of my favorite forms: the epistolary novel. The story is told by means of diary entries from a man named Bill Arthur, with occasional diary entries from other characters.

Bill’s diary begins eight months after the cataclysm that kills off most of humanity, the event he simply calls “That Day”. The first sentence he writes is “Today I killed a man and a woman.” He follows that sentence with a brief explanation of what life is like in the new world where everyone is faced with a daily struggle to survive and where some do not make it.

Today I killed a man and a woman. I didn’t want to, but I had no choice. It was me or them. This is how it is now. How it has been for not quite eight months. Everyone on his or her own. The quick or the dead. It wasn’t how it used to be, though. We complained about the old days. Now anyone who remains would do anything to return to even the worst of the old days. But they are gone and will not return for a very long time. Maybe never.

The focus in the cozy catastrophe is on building a better world out of the ashes of the old one. And The Rocheport Saga is no different.

There is no focus on and very little discussion of the disaster. It happened. It was horrible. And now we must move on. The milk is spilt. No sense crying over it.

And Bill Arthur doesn’t. His quest is to preserve as much knowledge as possible and bring the Twenty-first Century back on line as soon as possible.

Of course no story, even one that is essentially “plotless”, can survive without conflict, and Bill has plenty of conflict in Rocheport. All the way from the silly and inane to the deadly serious and life threatening.

Next week we’ll take a look at the books published thus far in the series and provide a synopsis of each.

Until then, happy reading!

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A Message of Hope

Post-apocalyptic literature addresses the question: what would life be like if the world as we know it came to an end?

The answer can be dark or light, dystopian or utopian. All depending on how the author wants to play the game. For now, the dark, dystopian answer seems to be what everyone wants. Hence the popularity of all the various iterations of the zombie apocalypse, and such books as The Hunger Games, or such TV series as The 100.

The end of the world as we know it ushered in Hell on Earth. In most cases, this approach to the post-apocalyptic story is survivalist in tone. The main character or characters are in a fight for their lives from beginning to end, with little relief in the middle.

However, the apocalypse, if we survive it and depending on the state of the world if we do, doesn’t have to be a hopeless cesspool. It can be a time of starting over and hopefully making things better. Everything depends ultimately on the author’s Weltanschauung, or worldview.

That is why I like the cozy catastrophe. At the end of the day, it offers us hope. It offers us a vision of the world where our better side triumphs. In the midst of disaster and its aftermath, the best of what makes us human comes to the fore.

The cozy catastrophe may have a battle for survival as part of the storyline, but the main emphasis is on rebuilding the world. And hopefully make it better than it was before the catastrophe.

S. Fowler Wright in Deluge and Dawn, classic cozy catastrophes (you can read for free at http://www.sfw.org), spends little time on the catastrophe and no time on why it happened. The bulk of the story in both books is allotted to how Martin Webster is going to create a new society without the flaws of the old one and how he will deal with the opposition to his leadership.

The ending of his 2-part saga in Dawn is somewhat bittersweet, and yet the world goes on. In spite of everything it goes on and humanity will survive.

In The Day of the Triffids, the book closes on a note of profound hope. Hope that all will become better for the human race, we’ll learn, and that humanity’s mucking around with nature won’t be the end of the human race.

Writers of cozy catastrophes, for the most part, see the catastrophe as wiping the slate clean. Then, if the survivors are up to it, they can build utopia.

In Dean Wesley Smith’s Dust and Kisses, the enterprising main characters are doing alright on their own when they run into each other. And then trouble comes to town. But is it? Again, hope wins the day.

Not all cozy catastrophes have a happy ending. Some are bittersweet. Fowler’s above mentioned Dawn. Earth Abides. Terry Nation’s book Survivors. But generally they are on the whole upbeat.

My own The Rocheport Saga is part philosophy, part family saga, part satire, and part action/adventure. And all about one man’s quest to fulfill his dream for a new world, a better world. In other words, utopia.

Perhaps it’s painting with too broad a brush to say writers of dark dystopian post-apocalyptic books are pessimists and cozy catastrophe writers are optimists. Nevertheless, the unrelenting darkness of something like The Hunger Games trilogy stands in stark contrast to the optimism expressed in The Day of the Triffids. Or even Earth Abides, where the main character doesn’t get what he had hoped for and yet the human race will survive and perhaps end up better than before.

Pessimistic or optimistic. Dystopia or utopia. Which is your preference?

Until next time, happy reading!

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Crime Fiction

My wife and I have been watching the ABC TV show Quantico on Netflix. I would have stopped watching after about the eighth episode, but my wife wanted to continue and so we did. IMO, the show continued its downward spiral into angst, bad acting, and impossibly stupid storylines right through to the season finale. How ABC could renew such a travesty on the concept of entertainment and cancel Agent Carter is beyond me. Well, actually it isn’t. A hot babe, a hunky guy, and sex (lots of sex) — and you get commercial sponsors. No wonder ABC’s line up sucks.

At the same time, I’ve been watching the Canadian TV series Murdoch Mysteries and CBS’s Elementary. Those are superb productions with good acting, well-drawn characters, and engaging storylines. Of which, Quantico has none. The main character in Quantico is a narcissistic slut (not just my opinion, even the characters in the story think so), the supporting characters are pathetic, and the storyline… Well, when taken all together, if the FBI is really like this — then God help America.

In watching the three shows, I got thinking about crime fiction and drama in general and which types do I prefer. Broadly speaking, there are three categories of crime stories: mystery, suspense, and thriller. Let’s take a look at each and see what defines them.

MYSTERY

Crime fiction mysteries more or less got their start with Edgar Allan Poe’s C. Auguste Dupin and were perfected by Sir Arthur Conan Doyle in Sherlock Holmes. Every detective since Holmes’s debut owe’s something to the Great Detective. Doyle permanently shaped the mystery. There have been many variations on the theme, but there have been no new themes.

What are the characteristics of the mystery story? At base it’s a puzzle, a riddle, to be solved. The hero or heroine must find the solution and discover who committed the crime.

The mystery is something of a cerebral form. It appeals to our wish for order and our desire to find solutions to problems. Action is often minimal. There is the sleuth, professional or amateur, interacting with the other characters in order to gain pieces of information which will hopefully lead to the solution of the problem.

Generally speaking, the sleuth is in little physical danger. Although he or she may encounter some risk as he or she gets closer to the solution and the bad guy is about to be revealed.

Examples of this category abound. Perhaps my favorite mysteries are those which feature Rex Stout’s Nero Wolfe. On TV there are many great series. Favorites of mine are Inspector Morse, Inspector Lewis, Inspector George Gently, Grantchester, Elementary, Murdoch Mysteries, and Midsomer Murders.

My own Justinia Wright, PI fits neatly into this category.

SUSPENSE

The suspense novel or drama differs from the mystery in that the hero is in some kind of personal danger, often right from the beginning of the story — although he or she may not be aware of the danger, at least at the start of the story.

However, the reader (or viewer) is very much aware and that starts the suspense dynamic.

The focus in the suspense story is not on the crime, but rather on the danger the hero has inadvertently gotten himself into.

The acknowledged master of the suspense story was Cornell Woolrich. Novels such as The Bride Wore Black, Night has a Thousand Eyes, and Fright are classics of the genre.

Alfred Hitchcock was the cinematic master of the suspense story, with such classics as Rear Window (based on a Woolrich short story), North by Northwest, and Vertigo.

A good suspense story often has many elements of the “whodunit”, although very often the reader or viewer knows who the villain is. The hero very often doesn’t however and that creates the suspense.

THRILLER

The thriller is the relative newcomer on the block. Although, one could argue the thriller concept got its start in such novels as the Fu Manchu series by Sax Rohmer, where the evil genius, Fu Manchu threatens the world with his evil schemes.

In a very real sense the thriller is a suspense story that is simply set on a very grand scale. The stakes are much higher, often on a huge scale. Something is going to affect hundreds, if not thousands or millions, of people — and the hero, of course, must stop the bad guy before the disaster happens. He may or may not know who the culprit is he must stop, but stop him he must. If the villain is unknown to both hero and reader/viewer, then we have elements of the mystery in our thriller.

And right from the start it’s very obvious the hero, along with those hundreds, thousands, or millions, is in danger. Mortal danger, which only gets worse as the story progresses.

The above mentioned blight on the thriller genre, Quantico, exemplifies all of the thriller tropes. The heroine, Alex Parrish, is in danger right from the start. The stakes are high, as well: buildings are blowing up and then we get the ultimate disaster threat. The villain is only revealed at the end, so we also have a healthy dash of mystery to our plot. The suspense story on steroids.

A much better example of the thriller is the movie Die Hard. Intense action. High stakes. One man against many, with scores of hostages at risk. A classic.

In the literary field, Tom Clancy was a master of the technical thriller and the stakes in his books are huge. There’s also Robin Cook’s medical thrillers.

POPULARITY

Crime fiction is the second largest genre after romance. According to Author Earnings’ May 2016 report, mysteries and thrillers/suspense account for around 230,000 sales per day on Amazon, with authors earning in the neighborhood of $375,000 per day. Apparently crime (writing) does pay!

Thrillers/suspense (and probably more the thriller) is the hot genre now. Straight mysteries less so. Lee Child and Clive Cussler are big names. Indies such as Mark Dawson and A G Riddle are pulling in big bucks selling thrillers. Apparently crime readers lean towards lots of action and big risks these days.

However, I have to say I prefer the mystery and secondarily the traditional suspense story. There’s nothing wrong with the thriller, it’s just that most thriller storylines seem a bit too fantastic for my tastes. I also tend to prefer the more sedate pace of the mystery. If I want action and adventure, I prefer the traditional action/adventure yarn. Such as those written by H. Rider Haggard or Robert E Howard.

It is, though, admittedly, a matter of personal taste. However, I find myself wondering if in another 130 years Jack Reacher will be around. I’m pretty certain Sherlock Holmes will be.

Feel free to comment on your crime fiction preferences. And until next time, happy reading!

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Cozy Catastrophe Review: Deluge

In some ways, Noah’s flood could qualify as a cozy catastrophe — made all the more cozy by divine revelation informing Noah of the impending disaster and telling him how best to survive it. However, I don’t know anyone who classifies the story as one.

On the other hand, God deigned not to intervene in S. Fowler Wright’s 1928 novel Deluge and it is an excellent example of the cozy catastrophe.

We’ve already observed that the cozy is not a recent phenomenon as some would suggest. It goes as far back as 1885 with Richard Jefferies’ After London; or, Wild England. And perhaps further. Especially if we include Noah.

Wright is a new author to me. He was very popular in his day. Unfortunately, he is faded into oblivion. There is a website dedicated to him — www.sfw.org — which includes nearly all of his works.

I was very impressed with Deluge and am currently reading the sequel, Dawn. The characters are well-drawn and believable, at least believable given the standards of 1928. Which means there is a definite class structure as well as a definite sexual divide between men and women, something some modern readers might have trouble with. However, Wright includes strong leaders among the lower class and includes two very strong female leads, which shows Wright to have been an author ahead of his time.

The novel is a wonderful blend of survival, love triangle, and nascent future building. Wright knew how to keep the tension mounting. His hero and heroines don’t have an easy time of it.

If the novel has any flaws it is that Wright tells the story in the third person omniscient. We learn everything about everything, which at times I felt bogged down the story with information I didn’t think necessary or that could have been given to me through some other form, such as conversation.

Engaging in descriptions of sex was taboo back then and I found amusing some of Wright’s circumlocutions to get around the subject and say what couldn’t be said. One involves one of the character’s claim she could be pregnant. Having only been with the man for five days and not intimate for most of those days makes pregnancy unlikely. However, Wright couldn’t come right out with the couple engaging in sex. So he uses the euphemism of pregnancy to tell the reader they were indeed getting it on!

Aside from the third person omniscient point of view and subject taboos we might find resulting in odd circumlocutions and euphemisms, the book is eminently readable.

The story tells us first of Martin and Helen, husband and wife, who get separated by the overnight catastrophe, and of Martin’s subsequent attempts to survive. The story then shifts to Claire, her survival, and her eventual meeting up with Martin. And because writers must make their characters suffer… Well, Gentle Reader, I’ll leave it there. You will need to read this tale to find out how it ends. The ending, I will say, is a satisfying surprise.

The cozy catastrophe is alive and well. There are many wonderful examples out there waiting to be discovered. Examples of human courage, hope, and ingenuity. For me, that is what makes the cozy catastrophe so enjoyable. It gives me hope the good within us all will win out over the evil.

Comments are always welcome. Until next time, happy reading!

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Cozy Catastrophe Review: The Rocheport Saga

The Rocheport Saga is my contribution to the cozy catastrophe subgenre. Freedom’s Freehold, the sixth book in the series, is available for pre-order, and the entire series is on sale for 99¢ per book until the 13th of June. Do get your copies now, if you haven’t already. They are available at the retailer of your choice.

Without even knowing what a cozy catastrophe was, I wrote about Bill Arthur’s attempt to preserve the accumulated knowledge of the human race in the wake of an overnight virtual annihilation of humanity. Taking as a general guide Stewart’s Earth Abides. And so it was quite by accident I incorporated all the features that make a cozy a cozy.

The Rocheport Saga is a sprawling work. It covers one man’s lifetime: from his late 50s to his death at 103. It is the second “novel” I wrote and the first after I came to the realization I was a pantser who had a liking for the “plotless” novel. By which I mean to say, The Rocheport Saga is very much like most of our lives: we have story arcs, picaresque adventures, but very little in the way of plot. Most of us, myself included, live from day to day. We don’t plot out our lives. Sure we have our plans. Most of those end up as merely wishes.

Kazuo Ishiguro, in his novel An Artist of the Floating World, summed it up quite well, I think. Most of us, at the end of the day, find ourselves to be, for all our dreams and efforts, ordinary people in extraordinary times. We give it our best to be great and usually fall far short.

That is why virtual life is so popular. Whether that virtual life be novels, games, TV, movies, social media, or a façade carefully maintained as though we were actors and actresses on a stage. Virtual life allows us to be great. It gives us the chance to be winners.

All literature, in my opinion, is ultimately fantasy. It is wish fulfillment. We want to be the hero who succeeds at the quest. Or to be the man or woman who finds true love. Or perhaps that one person to succeed where others can’t and thereby receive the recognition and adulation we know we are all entitled to.

The Rocheport Saga is no different. It is fantasy masquerading as science fiction. Because, let’s face it, what are the odds of a Bill Arthur surviving such a cataclysm and being able to guide and hold together such a rag tag group as that in Rocheport? Probably nil. And yet, we all would like to be Bill Arthur. I know I would.

Why? Because he is not like us. He is underneath it all an extraordinary man who gets to live in extraordinary times. He is the quintessential nobody who rises to the occasion when the occasion presents itself. Which is a key feature of the cozy catastrophe. He and he alone is capable of leading the people of Rocheport and ultimately of Missouri. The stuff of which dreams are made.

In The Morning Star, we meet Bill Arthur. He is searching for a home. The urban areas are too dangerous for his liking. Along the way, he meets Mert, Mel, and Sally. They are the beginning of his blended family through which his dream eventually comes to fruition.

Book 2, The Shining City, finds the inhabitants of Rocheport doing what it seems people do best: fighting. There is war and Bill’s group eventually wins, but not without loss. For war only comes with loss.

The losers of the civil war in Rocheport are very poor sports and in the next two books, Love is Little and The Troubled City, our hero has no end of grief in his attempt to ensure the group’s survival and accomplish his dream of a return to high technology and for everyone to live by the Golden Rule.

By Leaps and Bounds, Book 5, sees a turn. On his way to a libertarian republic and living by the Golden Rule, Bill disbands Rocheport’s communal way of life and makes everyone responsible for his or her success or failure.

In Book 6, Freedom’s Freehold, Bill, in the face of dangerous external and internal forces, as well as personal crises, continues his technological advance and his desire to implement a libertarian republic — that best form of government which governs not at all, as Thoreau wrote.

Just as Europe emerged from the Dark Ages to realize the world was a very large place, so too does Rocheport emerge from its isolation to find there are many little communities like itself.

Bill embarks on building a telegraph network to link together likeminded cities. He builds steam-powered cars and trucks for travel and trade. And for long distance exploration and trade, he builds a steam-powered airship.

The forthcoming books will chronicle the ever growing world in which Rocheport finds itself. The question always being will Bill and his dream remain in the center of that world and will Rocheport truly become the shining city set upon the hill.

The Rocheport Saga is the cozy catastrophe on a grand scale. I hope you enjoy it.

Comments are welcome, as always. Until next time, happy reading!

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Cozy Catastrophe Review: On the Beach

The human spirit thrives on hope. I think the King James translators put it best (if not a bit inaccurately) when they wrote: and on earth peace, goodwill toward men. Humans have wanted and longed for peace and utopia ever since one person set him or herself above another.

Persecution and oppression always produce in those persecuted and oppressed the hope that there will come a day when persecutions will end and oppression will be no more.

The Israelites created their Messiah. Marx envisioned a utopia with no state and no bosses. And for those of us who grew up in the ‘50s and ‘60s, we longed for a time when the atomic bomb would be no more and we’d wage peace instead of war.

The ‘50s and early ‘60s we’re especially fraught with tension. Nuclear drills in school. The H-bomb. The Korean War. The Vietnam war. The U-2 incident. The Cuban missile crisis. There was a subtle and constant fear that the human race would completely annihilate itself in a nuclear holocaust or a nuclear winter.

The book that perhaps best epitomized that fear is On The Beach by Neville Shute, first published in 1957. It is a novel of nuclear holocaust and how we might react to the impending annihilation of the human race.

There is very little plot in On The Beach and the story line is simple. A nuclear war has occurred before the book begins. The northern hemisphere is obliterated and the radiation cloud is slowly sinking southwards. The people there, in the south, have perhaps another year to live.

The story focuses on two couples and how they deal with their impending deaths. This is tragedy, pure and simple. The novel opens with impending doom, there is a brief moment of hope which turns out to be false, and then the unrelenting radiation cloud arrives and with it — death.

On The Beach has to be one of the saddest novels I’ve ever read. I found it to be a rather ponderous and slow moving read. Even boring at times. But Shute pulled out one of the most heart-wrenching endings I’ve ever read. I think the novel is worth reading. If for nothing else then to see a picture of the end of the world that isn’t met with hedonistic abandon.

Shute gives us a picture of ourselves at what might be called our finest hour: meeting our certain end with dignity and grace.

A modern riff on this idea can be seen in the movie Seeking A Friend For The End Of The World.

The question, though, in my mind is this: is On The Beach a cozy catastrophe? The novel regularly appears on list of cozies. The calm approach to impending doom, drinking tea and eating crumpets, is frequently cited as a hallmark of the cozy. However, I don’t think the novel is a cozy.

This putting of On The Beach in the cozy catastrophe camp bothered me because the world comes to an end. No one survives. Recently I watched the movie Seeking A Friend For The End Of The World. The story line of Seeking is simple. (Spoiler Alert) An asteroid is going to destroy Earth. A man and woman meet, eventually fall in love, get separated, get back together, and meet the world in each others arms. A doomsday story, pure and simple.

And so is On The Beach. It’s not the end of the world as we know it. It’s the end of the world for the entire human race. It’s doomsday.

For a cozy catastrophe to be a cozy, the earth must be survivable and there must be survivors. Neither is the case in On The Beach. The book is an end of the world story. Not a cozy catastrophe.

However, the book is worth reading. Contemporary audiences, however, may find the book slow moving. Be aware there isn’t much plot here. There’s a heavy emphasis on duty and civility and a fascinating insight into how we delude ourselves. And the heart-wrenching ending.

On The Beach is not a cozy catastrophe, but a great end of the world novel.

As always, comments are welcome! Until next time, happy reading!

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