thrillers | CW Hawes

Who Killed Lilly Paine?

This Saturday, May 20th, the newest Magnolia Bluff Crime Chronicles book drops.

Who Killed Lilly Paine?
by
KD McNiven

And you can pre-order it right now on Amazon.

KD McNiven

McNiven is no stranger to Action-Adventure Thrillers, Police Procedural Thrillers, and Science Fiction Thrillers.

Now she adds the Mystery Thriller to her repertoire.

KD is one of three new additions to the Underground Authors. She brings experience and talent to the table, to give us a new look at the goings on in Magnolia Bluff, Texas.

What’s It All About?

Who Killed Lilly Paine? is the 13th book in the exciting multi-author Magnolia Bluff Crime Chronicles series.

The book revolves around two foci: the death of teenager Lilly Paine, and Deputy Detective Maddy Dawson’s re-acclimation to her home town of Magnolia Bluff. And neither one is going to be easy.

The murder is complex and the murderer elusive.

Maddy’s return home is more of an escape from a bad situation in her previous job in Nevada, than it is a joyous home coming.

During the course of the story, Maddy not only has to deal with her personal demons and self-doubts, but also the threats on her life as she slowly closes in on the killer.

Who Killed Lilly Paine? is an emotive thrill read, as well as a puzzler of a whodunit. A good addition to the Magnolia Bluff Crime Chronicles.

Where Can You Get It?

Who Killed Lilly Paine? is on pre-order right now on Amazon. The book’s official launch date is May 20th. Reserve your copy today!

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

CW Hawes is a playwright; award-winning poet; and a fictioneer, with a bestselling novel. He’s also an armchair philosopher, political theorist, social commentator, and traveler. He loves a good cup of tea and agrees that everything’s better with pizza.

If you enjoyed this post, please consider buying me a cup of tea. Thanks! PayPal.me/CWHawes

Justinia Wright Private Investigator Mysteries on Amazon!

Magnolia Bluff Crime Chronicles on Amazon!

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Good Storytelling in 2021

2021 — it was a good year for reading. I got reacquainted with old friends and met a number of new ones.

All told, I read 110 works of fiction and non-fiction. The breakdown is:

44 novels/novellas
54 novelettes/short stories
6 screenplays
6 non-fiction

Of those 110 works, 43 were by indie authors. Which makes for 39%.

Eleven storytellers stood out above the rest. Below is a brief explanation of their outstanding merits.

Matthew Cormack

The Piranha Pandemic: From Small Acorns is Cormack’s third book chronicling the events of the Piranha Pandemic. The first two are Don’t Dream It’s Over and Ganbaru.

Cormack’s strengths as a storyteller are his realistic post-apocalyptic worldbuilding, and his vividly realistic characters.

James Patterson once said about himself that he was a lousy writer, but a good storyteller.

Mr Cormack is both a good writer and a good storyteller. Quite honestly, there are few writers who can touch him. He’s that good.

James Vincett

Vincett is one of the very few writers who can give Matthew Cormack a run for his money.

Vincett’s storytelling transports us to highly imaginative worlds. He puts us into exciting space operas that we don’t want to leave.

As of now, he has 3 series going: the Hominim Union, the Independencies, and the Far Frontiers. The books in all three are fabulous. Take a look at his Amazon page.

Suffice it to say, I’ve bought and read all his books and will buy anything he publishes in the future because he knows how to tell a great story. And I love a great story, with memorable characters.

Neil Mosspark

Mr Mosspark burst on the scene a couple years ago and then vanished. Which is a shame. He’s an engaging writer. An imaginative writer. He has, though, left a number of works on Amazon — which is good for us. I recommend you get them.

His Sand Fall Trilogy is survival science fiction. Crash landed on a desert planet, can a ragtag group of humans survive when everything is against them? Very much worth your money and time to read. Pick it up on Amazon.

John F Leonard

John F Leonard tells horror stories which are subtle in nature. The spookiness and the terror hit you after the fact.

Call Drops involves a phone that works, but shouldn’t. The story is about choices and consequences. The ending will get you.

A Plague of Pages explores ownership and vengeance. Hold onto your socks.

Mr Leonard tells good stories. I look forward to reading more of his work in 2022. Pick up his books on Amazon and let them give you goosebumps.

Andy Graham

Andy Graham writes atmospheric horror. His prose is literary. And his stuff is so scary I have to be in the right frame of mind to read it.

His book A Demon Risen is terrifying. Plain and simple. It’s also the third or fourth book of his that I’ve read. And every one is terrifying. Get them at Amazon.

Just remember: his books are best read while the sun is shining.

Terry Newman

A number of years ago I read Detective Strongoak and the Case of the Dead Elf. It was a magical blend of humor, hardboiled detective fiction, and fantasy. And I loved it.

Nicely Strongoak is a dwarf. He’s also a detective and a shield for hire. And he’s one of the most fascinating characters I’ve come across in a long time. Sam Spade meet Terry Pratchett.

Last year I read The King of Elfland’s Little Sister and Dwarf Girls Don’t Dance, the latest books in the Nicely Strongoak series, and was not disappointed.

The books are hilarious, suspenseful, and engaging murder mysteries. All set in a highly imaginative fantasy world. Get over to Amazon for some super great fun.

Lisette Brodey

I’ve read 3 books by Ms Brodey, the latest being The Waiting House; which is a fine example of literary fiction blended with magical realism, humor, and a bit of fantasy.

Ms Brodey’s storytelling is characterized by the vivid and memorable characters that she tells us about. And it’s what keeps me coming back to her fiction. After all, characters are the thing. Pick up a copy of The Waiting House on Amazon.

Garrett Dennis

Port Starbird is my kind of murder mystery. The book is laid-back, cerebral, touched with humor, transports you to the world of the detective, and introduces you to a whole lot of new friends.

I was only partway through Port Starbird, the first of the Storm Ketchum mysteries, when I fell in love with the world Mr Dennis had created and bought all the books. I’m looking forward to reading more of Storm Ketchum’s world this year. And you can get in on his adventure’s via Amazon.

KD McNiven

Ms McNiven writes fast-paced action adventures. One of her most fascinating characters is Detective Brock Scanlin. He’s a hard as nails police detective, yet he’s human. All too human. And that’s what makes Blood Alley and Blood Pool so good. Climb aboard the Brock Scanlin roller coaster today.

Richard Schwindt

Richard Schwindt is no stranger to this blog. I’d buy his grocery list, his writing is that good.

In The Death of Brenda Martin he has tied together all of his various fictional worlds. Quite a feat.

Schwindt is an artist who gives us a world we can see, touch, smell, taste, and feel. He blends mystery, monsters, and real life problems with panache. Enter his world. You won’t regret it.

Caleb Pirtle III

Caleb Pirtle has been writing and telling stories his entire life — and it shows. His fingers dance across the keyboard with the grace and power of a Baryshnikov.

What is undoubtedly the most powerful novel I read in 2021 came from his genius: Last Deadly Lie. The book is a tale of lies, lust, deceit, power, and destruction.

The setting is a church community. But this is not a religious novel. It’s the story of people. People who crave power and control and what they will do to get it and exercise it — no matter the setting, no matter the cost. It’s a tale of lust and secrets and the lies that are told to mask a person’s true intentions.

Last Deadly Lie. A powerhouse of a novel. One you will not forget. Get it from Amazon if you dare.

That’s my cream of the crop for 2021. I’m eager to see what delights 2022 with reveal.

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

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A Nest of Spies

The sale is now over — hope you got your copy!

Murder and mayhem. Plus Tina’s being framed for murder!

A Nest of Spies is the 5th book in the Justinia Wright Private Investigator Mysteries series.

Starting 5 am PDT on Wednesday, August 18th, the book will be on a 137 hour sale. For only 99¢! That’s a 76% deep discount.

Get A Nest of Spies on Amazon!

Joe Congel, author of the wonderful Tony Razzolito mysteries, had this to say about A Nest of Spies:

If you’re not reading this wonderful Private Investigator Mystery series, you should be.

CW Hawes has created a cast of characters that I believe stand tall next to any traditional detective, whodunnit mystery you want to put them up against. In this, the 5th installment of the series, the reader gets a peek into private eye, Justinia Wright’s secretive government past. A past that she never talks about, not even with her brother, Harry.

But when government (the U.S as well as other countries) spies and contract killers start appearing on her doorstep, it becomes obvious to Harry that his baby sister may still have at least one toe dipped in a pool filled with espionage and treason.

Spies can be a funny bunch; they will put their mutual trust in one another when it’s beneficial to them, but will not hesitate to pull the trigger to save themselves. And all the while, you cannot believe a word any of them say.

When a former agency partner tries to unsuccessfully hire Tina to help secure a flash drive with plans for a top-secret weapon by posing as the buyer, it is just the beginning of a fun, interesting mystery filled with lots of twists and turns.

As more and more people from Tina’s past show up wanting to talk with and hire the great detective’s services, the lies… and the body count begin to grow. And when Tina is accused of murder, she and her team of sleuths devise a scheme to recover the missing flash drive, catch a murderer, clear their names, and in the process make a little profit for their troubles.

With all that is going on in this story, you would think that the Wrights would have time for nothing else. And as interesting as the main plot of this novel is, the subplot that fleshes out the on again, off again relationship saga between Tina and police Lieutenant Cal Swenson, all the fabulous meals cooked up by Harry and his wife Bea, and the side characters like Tina’s tenant, the quirky artist wannabe, Solstice, is perhaps what really makes this series special.

Hawes has developed characters that you can’t help but care about. It’s what makes me continue to buy and read every book in this series. I really want to know what’s going on in Tina and Harry’s personal life as well as how they will solve the mystery at hand.

I highly recommend A Nest of Spies. It is my favorite Justinia Wright Mystery so far, and I can’t wait to dive into the next one to see where the mystery and mayhem takes this talented brother and sister detective duo.

KD McNiven, author of the very fine Detective Brock Scanlin mystery series, had this to say:

…I have read several of CW Hawes’s books and have thoroughly enjoyed each one. I especially like his Justina Wright books because they are the traditional whodunit mysteries that keep you flipping the pages. And CW just writes darned outstanding books. Justinia (Tina) is a colorful six-foot-tall redhead character who is a private investigator, a connoisseur of painting, and an accomplished pianist. Her brother Harry works alongside her, and they make a great team.

There are plenty of twists and turns in A Nest of Spies to keep you reading through the night. You can’t help but join in on the fun and mayhem. I highly recommend A Nest of Spies! A fantastic mystery series.

High praise, which I feel very honored to receive as it comes from such fine writers.

Below is a snippet, from Chapters 7 and 8, for your reading pleasure.

All was quiet for a few moments and then Cal spoke. “Gaddison was shot with a thirty-two. There aren’t many of those around. Mind if I take a look at yours, Tina?”

The look on Tina’s face would’ve iced over the Amazon.

“Yes, I mind. I didn’t shoot Gaddison, Swenson. And if I had, all I needed to do was make one phone call and the crime scene would have been cleaned to the point where even God would’ve thought He’d just made the place.”

“Look, Wright, I’m just doing my job. Don’t make this any tougher for me than it already is.”

She paused long enough for the temperature in her demeanor to thaw out and actually exude some warmth.

“Okay, Swenson, I’ll humor you. Harry, get my revolvers.”

We keep most of our guns locked up, although we each have one or two in a drawer in our respective desks and I know I have one in my room upstairs. I unlocked the safe and got out her two revolvers. A nod of her head in Cal’s direction indicated I should take them to him. He looked them over, smelled them, popped out the cylinders, put them back, and handed the guns back to me.

“Satisfied?” Tina asked.

“On the revolvers? Yes, they don’t appear to have been fired recently.”

“They haven’t, Swenson.”

“Still might want to run a ballistics check on them. What ammo do you use?”

“Federal eighty-five grain jacketed hollow points.”

“Do you own a thirty-two caliber semi-auto?”

“What the hell, Swenson? No, I don’t.”

“You mind telling me what you did last night?”

“Am I a suspect?”

“Well, we found what we think is the murder weapon. A little Yugoslav CZ Model 70 in thirty-two.”

“I don’t own one and, as I already told you, I don’t own any semi-autos in thirty-two.”

“Care to tell me why your fingerprints are on the gun?”

I know Tina pretty well. She’s as cool as that proverbial cucumber under pressure. But when Cal asked her that question, I could swear she blanched.

“I have no idea, Swenson.”

“I had them hold off doing a ballistics test until I talked to you. So you don’t own any thirty-two caliber semi-autos. Just the two revolvers.”

“Correct.”

“I won’t get any surprises doing a registration check.”

“No.”

“So where were you last night?”

Tina took in a deep breath and exhaled. “I went out with a friend. We had supper and took in a movie. Then I went to his place for a bit, we got into an argument, and I left. I was pissed and drove around for awhile before coming home.”

“When did you leave his place?”

“Around eleven.”

“When did you get home?”

“About one.”

“You were out driving around for two hours?”

“Yes, Swenson. I was driving around by myself for two hours and therefore no one can corroborate where I was. Hell, I’m not sure I know where I went. I was pissed and just drove around. When was Gaddison shot?”

“Around midnight. Give or take a half-hour. Which means you don’t have an alibi.”

“My prints just on the gun or are they on the ammo too?”

“As far as I know, just the gun.”

“Cal, I didn’t shoot him. I would have loved to have been the one to pull the trigger, but I didn’t. As for my prints, I have no explanation.”

“We’ll run a ballistics test. If it is the murder weapon… Well, you know what that means. I’ll let you know as soon as I hear something.”

“Thanks, Cal.”

“Any idea who might want to frame you?”

“No one in Minneapolis.”

He nodded and stood. “That should do it for now.”

Cal left and Bea followed him out, returning in a couple of minutes. She sat on the chesterfield and asked, “Is this spy stuff, Tina?”

“Don’t know for sure. Probably.”

“What I want to know,” I began, “is how did your prints get on a gun you don’t even own?”

Tina shook her head. “I have no idea.” She turned to Bea. “What did the guy look like who delivered the special delivery letter?”

“It wasn’t a guy. It was a woman. Kind of masculine looking, but she looked like a woman to me.”

Tina shrugged. “I have no idea.”

“If this is spy stuff, governments sure do a lot of bad things, don’t they.”

Tina had a far away look on her face. “Yes, they do, Bea. Yes, they do.”

I hope you enjoyed that little morsel.

Get A Nest of Spies for only 99¢ starting tomorrow, August 18th. Sale ends 10 pm PDT on August 23rd. So don’t wait!

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Where Have All The Mysteries Gone?

The latest Justinia Wright Private Investigator Mystery, When Friends Must Die, is now available. There are a total of seven books in the series (if we count Book 0, which Amazon doesn’t).

To be honest, of all the characters I’ve created Justinia Wright is my favorite. She was my first child, so to speak, and I know her so well it’s as though she’s a real person.

But in this age of thrillers and books whose pages turn themselves, Tina and her brother, Harry, have been a hard sell.

Rex Stout’s Nero Wolfe books are the ideal detective reads, in my opinion. They have a bit of Sherlock Holmes and a touch of noir, a smidgeon of philosophy, and a lot of wisecracking banter. I will take Nero Wolfe any day over any other fictional detective out there — including the Great Detective himself.

However, the Nero Wolfe novels aren’t thrillers by today’s standards, and while excellent reads I do have to turn the pages myself. And therein lies the rub.

If the mystery writers of the Golden Age were plunked down into today’s publishing world as newbies, I doubt they’d make it. Why? Because at times their books are ponderously slow by today’s standards. The riveting action usually doesn’t appear until the last quarter to third of the book. The front part is all clue gathering and sub-plot and character development. This makes for a slower read, but one in which the plot is more nuanced and the characters are more richly drawn.

Just think, in today’s market the likes of Agatha Christie, Patricia Wentworth, Ngaio Marsh, and Rex Stout might never have seen a book contract from a publisher. And if they’d gone indie, they might have sold books, but I doubt their names would be household words.

In his day, the very prolific Edgar Wallace was selling mysteries like the proverbial hotcakes. Today, virtually none of his books are in print. He often has plenty of action, but his books are in no way, shape, or form thrillers.

Even Erle Stanley Gardner, creator of Perry Mason, is edging towards oblivion as the generation that grew up reading and watching Perry Mason dies off. Why? Because for all the action, they aren’t thrillers.

Which introduces an interesting dynamic in the mystery vs thriller debate. The mystery reader tends to be older. The thriller reader, younger.

Today’s reader, especially readers of indie books prefer action — just like the pulp magazine readers of yore.

But there are writers of mysteries, traditional mysteries, who are managing to sell books. PF Ford, JA Mensies, and Renee Pawlish to name three.

There are, however, more writers of good mysteries who deserve a much bigger audience. Richard Schwindt and his Death in Sioux Lookout trilogy. Joe Congel with his Tony Razzolito, PI series. JP Choquette and her Tayt Waters mysteries. Just to name a few.

But why read traditional-style mysteries instead of thrillers? Primarily because I think they are overall more entertaining and engaging reads. Mysteries tend to be multi-dimensional, whereas thrillers, at least the ones I’ve read, are pretty much one dimensional. Kind of like superhero comic books. There’s a lot of unrelenting action and that’s about it.

Of course superheroes are all the rage, so maybe that explains the appeal of thrillers.

A good mystery is plot-driven, has multi-faceted characters, an engaging storyline, and a certain literary finesse. A good mystery engages one on a more intellectual level. But a good mystery isn’t all in the mind, because there will be plenty of action scenes to get the heart pumping.

Which is my point: a good mystery is a wholistic read. It appeals to the reader on many different levels.

Give PF Ford, JA Menzies, and Renee Pawlish a try. Give Richard Schwindt, Joe Congel, JP Choquette, and even my own Justinia Wright a try. You just might discover a whole new world opening up before you.

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

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Mystery vs Thriller

These days the term “thriller” is pretty much used indiscriminately. Indie writers are especially guilty of this abuse, but traditional publishers are in nowise innocent.

I suppose, in order to get us readers to buy books, the term “thriller” is plastered all over the book, used throughout the description, and liberally sprinkled in the advertising. The idea being that the book will “thrill” us. And who doesn’t want a few thrills in life?

But that isn’t at all what a thriller is. At least technically speaking. And if we readers don’t want to read thrillers, it would be very helpful if writers and publishers stopped calling everything a thriller when it isn’t.

Let’s take a look at what constitutes a mystery, a suspense novel, and a thriller.

What Is a Mystery?

A mystery is essentially a puzzle. The form we are most familiar with is the detective novel, which was invented by Edgar Allan Poe and popularized by Sir Arthur Conan Doyle.

In a typical mystery, there is minimal action. The sleuth goes about sleuthing to find the solution to the puzzle, which is some type of crime, usually murder. The detective is not often in danger, although other characters often are.

The suspense is usually minimal — although the author may crank it up near the end of the story.

The mystery novel is more or less an intellectual read. It’s appeal is the solving of the puzzle by the reader before the detective, or enjoying the detective’s process in solving the case. The traditional mystery is definitely not an action-packed read.

Recently I re-read Fer-de-Lance by Rex Stout. It’s the first Nero Wolfe mystery.

I was surprised at how little action there was in the book, which was published in 1934. Wolfe, who in some books weighs a seventh of a ton, sits, drinks beer, questions people, tends his orchids, eats, and thinks. That’s it.

Archie Goodwin, Wolfe’s assistant who tells the story, drives from NYC to White Plains numerous times. He questions people for Wolfe, makes wisecrack remarks, gives us his observations, and also thinks about the case.

The only “action” occurs towards the end of the book when Wolfe stages a robbery to get a person to talk. Wolfe’s life is threatened once, also near the end of the book. And Archie punches a cop. That’s it. Definitely not action-packed, although the suspense does ramp up a bit at the end; yet the book is a thoroughly delightful read. Stout achieves this by the use of plenty of humor, interesting characters, and the laying out clues for our consideration.

What Is A Suspense Story?

A story of suspense may be a mystery, but the difference is that the reader knows more than the protagonist. Frequently, the reader knows who the bad guy is long before the good guy does. And because we, the reader, know things the hero doesn’t — suspense is created.

Will the hero realize there is a viper in the basket? Will he or someone else open the basket and get bit? That’s the creation of suspense.

The suspense novel also has a limited scope. The protagonist, the hero or heroine, is the one who’s primarily in danger.

A classic example of the suspense story is Hitchcock’s film North by Northwest. The story is about a man who is mistaken for someone else: a man trying to foil a plot to steal government secrets. Plenty of suspense is generated as the good guy tries to escape the bad guys. Especially because he has no idea who is after him and why.

What Is A Thriller?

At the risk of oversimplification, a thriller is a suspense tale on steroids.

Whereas a suspense novel is generally focused on the protagonist and if he or she will beat the villain, the thriller has much higher stakes. The villain is going to destroy the city, or country, or world. The protagonist must not only stop the villain, but must stop the series of events the villain’s set in motion that will take down the world’s economy, for example.

Thrillers are usually villain-driven. The villain shares the stage with the hero.

A classic example of the thriller is the film Die Hard. We have the villain seize control of a corporation’s headquarters and hold hostage those inside the building, who are at the company Christmas party, in order to steal a fortune in bearer bonds. There is only one man in the building who can stop the villain and save the hostages.

There is plenty of suspense; some mystery, because we don’t know at first what the real goal of the terrorists is; and loads of action. That’s the thriller: suspense, action, and high stakes.

Novels such as The DaVinci Code and The Hunt for Red October raise the stakes even higher.

Mixing It Up

People being who they are, like to mix things up. There may be elements of mystery in both suspense and thriller tales, as noted above, but it isn’t the main element.

There may be plenty of suspense in a thriller, but the nature of what is at stake is different from that in a pure suspense story.

Lee Child, for example, writes what are essentially action novels, even though they are labelled thrillers. The stakes in a Reacher novel are small, at least the ones I’ve read. Either Reacher has to get himself out of a predicament or decides to get someone else out. There is nothing big, like the destruction of the world’s economy, at stake. Which means, technically, the books aren’t thrillers. But in the process of getting out of trouble, there is loads of action. Bodies litter the ground before we close the book. Which makes the books in actuality action novels.

So even though the word “thriller” is applied to Child’s novels by his publisher, they don’t conform to the thriller formula. It is this blurring of distinctions, for the sake of marketing, that in my opinion does a disservice to readers. I guess action novels just don’t sell as well as thrillers.

Popular Tastes

Today the “thriller” — whether the book actually is one or not — is hot. A book labelled a thriller is sure to sell.

Even many writers of detective novels are trying to jump on the thriller bandwagon by ramping up the action and claiming that the “pages turn themselves”, which is of course utter nonsense. And action alone is not the sole hallmark of a thriller anyway.

To my mind, this is a shame. When the thriller reader picks up a mis-identified book, he or she ends up disappointed and may even negatively review it. And the mystery reader will shy away from such books thinking they’re thrillers, when in fact they aren’t.

The quest for the almighty dollar is no excuse, in my mind, to mislead us readers.

I read mysteries because I like the more sedate pace and the intellectual aspects of the story. I don’t particularly like thriller novels because they are often too long and have the inevitable slow spots, which make for boring reading and thus ruins the whole thriller aspect. I’d rather watch a thriller movie, if I’m in the mood for a thriller.

The best part of the indie revolution is that there are far more published authors now then there were pre-Kindle. And while many writers have jumped on the thriller bandwagon, there are also many, who, like me, write the traditional mystery. Some are:

It’s a great day for readers. Many writers — good writers — who would never have been tapped for membership in the hallowed halls of traditional publishing, can now share their gems with us. Writer and reader are all the richer for this new age.

As usual, comments are always welcome, and, until next time, happy reading!

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Today’s Frenetic Pacing

We read for two reasons. Information or entertainment. Informational reading has no competition. The various media do, but not the reading itself.

On the other hand, recreational reading, entertainment reading, has an ever increasing array of competing activities. Video games, computer games, board games, TV, Netflix and Amazon streaming, movies, sports activities, plays, concerts, and the list goes on.

Today’s writers, particularly indie writers, it seems to me, feel the need to compete with today’s cinematic pyrotechnics, and the ever increasing graphic sex and violence the visual entertainment media are portraying.

Today I just want to focus on pacing. I’ll talk about sex and violence another time. Of the books I’ve recently read, the pacing falls into two distinct camps. I’ll call them thriller-paced and literary-paced.

Thriller-Paced

Everywhere we readers look, we see books advertised as fast paced, as page turners, or that the pages even turn themselves. The thriller is everywhere. It’s taken over the mystery field, it’s gone into outer space, it’s pervasive in science fiction, and it’s even moved into horror.

Frenetic pacing is in. To the detriment of the reading experience.

Recently I read a space opera by a supposed USA Today bestselling author. I say “supposed” because writers are scamming the system by riding to “Bestseller” status in boxed sets where their name doesn’t even appear in any of the advertising.

Anyway, I read an advanced reader copy of Book One of the series, which had recently been rewritten and expanded, with the intent that I’d write a review. I’m not sure that I will, because I don’t have much good to say about the novel. And Book Two wasn’t much better. I eventually just stopped reading it.

I can’t say either book was bad. But I can’t say either one was especially good either. The writing, on a technical level, was fine.

What torpedoed the reading experience for me were the characters. They were flat, insipid, and pretty much lackluster. To the point where I didn’t really care what happened to them.

The author spent the entire book doing nothing but piling on crisis after crisis. There was no breathing room. And his paltry attempt at trying to establish a romance element fell flat on its face for me because even that seemed to be nothing more than following the “insert romance here” point on the plot outline.

When I finished the first book I was so exhausted from the pacing, I almost wished everyone would die just so I could get some relief.

Now I know a writer must make his characters suffer, otherwise there is no story. But ask yourself this: how often in real life do you have days where not a single thing goes right? I’d hazard a guess they are darn few. So why in these “thrillers” are we asked to accept an entire book where the good guys have nothing but bad hair days for days and days and days on end? Because even on bad hair days something usually goes right. But not for the fictional characters.

Quite honestly, I don’t really care about plot. If the characters are interesting — real people, with real problems — whatever the story is, it will be the story of the characters. Ray Bradbury said, create your characters, let them do their thing, and there’s your story. Why don’t writers follow this?

Instead, they focus on trying to write a well-crafted plot and then insert the characters into it. The end result is that the characters are no better than marionettes and even less interesting.

Today’s plot-driven thriller is wooden and uninspired and, frankly, exceedingly boring.

I’ve made a deal with myself. Thrillers and USA Today bestselling authors are off my reading list. The books I’ve read by bestselling authors and those marketed as thrillers are mediocre at best. And why read mediocre or bad books when so many good ones abound?

Literary-Paced

What I’m calling “Literary Pacing” is normal pacing. The pacing employed by Isaac Asimov, Rex Stout, Chelsea Quinn Yarbro, Anthony Trollope, Charles Dickens, Lawrence Block, and Edgar Allan Poe. Or the pacing you’ll find in such books as Costigan’s Needle, Tomorrow and Tomorrow, When Worlds Collide, The Handmaid’s Tale, Hidden World, and The Day of the Triffids.

The above mentioned authors and books (and the list barely scratches the surface) have one thing in common — characters we care about. Comte Saint-Germain. Archdeacon Grantly. Scrooge. Nero Wolfe. Matt Scudder.

Literary pacing doesn’t mean there’s no excitement. There may be fight scenes, or car chases, or gun fights, or tense escape scenes. These, however, are scattered throughout the story. Occurring naturally as the characters go about their business of telling us their stories. And that’s the key: the characters are telling us their stories. Not the author.

Literary pacing occurs when the writer writes character-based fiction. It’s not about the plot. Good fiction is never about the plot. It’s about the characters.

We don’t remember Gone With The Wind for the thrilling plot. We remember Scarlett and Rhett. “Hills Like White Elephants” isn’t remembered because of the plot. It’s the characters that make the story. We don’t remember The Lord of the Rings because of the plot. It’s a ho-hum quest story. We remember the book for the characters — both good and bad. Because both the good guys and the bad guys in The Lord of the Rings are memorable.

Plot-Driven vs Character-Driven

Many of today’s indie writers are so concerned about cranking out the next book, all they focus on are the story beats and the outline. Making sure they’ve hit all the plot points at just the right time. The resulting fiction is mechanical at best. A fast-moving piece of mediocrity. An eminently forgettable book.

On the flip-side, even mediocre character-driven stories can stay with you for decades.

Who remembers the 1956 sci-fi novel Tomorrow And Tomorrow by Hunt Collins (aka Ed McBain)? Yet that book has stayed with me ever since I read it when a kid some fifty-plus years ago. Why? The world Collins created and the characters. Especially the characters. I don’t remember their names, but I remember them.

Recently I read the Dave Slater mysteries by PF Ford. I like Dave and his sidekick Norman Norman. They are “people” I care about. And what makes the stories good is that they are the stories of Dave and Norman.

Ford’s novels aren’t just plots into which he plunked down some characters. No, he did the Bradbury thing: created his characters, let them do their thing, and the result was their story.

The late Elizabeth Edmondson’s A Very English Mystery series is the same. Real people doing their thing — and we get to read the delightful tales as a result.

I think today’s rash of thrillers is the result of indie authors trying too hard to make a buck. It seems to me they think if they can just throw more action, more sex, more blood at the reader they’ll get more fans and more money.

Unfortunately for them, this reader has been turned off. Anything labeled fast-paced or thriller won’t get my buck. Neither will anyone spouting off they are a USA Today bestselling author. The books are disappointing and my time is too valuable to waste.

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

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Slow

If you look at just about any book ad or Amazon genre page, the words that most often jump out at you are “fast paced” and “thriller”. Or you might find phrases like, “the pages turn themselves”. Or subtitles packed with the words, “gripping”, “shocking”, “thrilling”.

As a reader, it seems to me, writers are hellbent on jacking up my blood pressure and giving me cardiac arrest. The scribblers are doing their best to push frenetically paced everything down my throat. Can’t wait to get my copy of the new gripping, thrill-packed, and shocking edition of the Betty Crocker Cookbook, where the recipes make themselves.

I blame the furious pace of contemporary fiction and the taste for such stuff on generations that were raised watching Sesame Street. If any kid’s show was designed to produce and then cater to hyperactivity it is Sesame Street. For those of us raised on Captain Kangaroo, Sesame Street’s fevered pace is apoplectic.

Of course, there are those who disagree and they’re free to do so. As with anything, there is probably more than one cause. In addition to Sesame Street one could blame texting, with its abbreviations and clipped text.

Contemporary TV shows, playing to the Sesame Street generations, jump from scene to scene, throwing a tumult of disconnected storylines at the viewer that I often find it difficult to follow.

I know, I know, we baby boomers are dying off. Nobody gives a flying fig about what we think. But quite honestly, what’s the rush? Why do the pages have to turn themselves? Can’t I pause a moment and smell the fictional rose? Can’t we follow Simon and Garfunkel’s advice? “Slow down, you move too fast. Gotta make the morning last.” Seriously, night will come all too soon. Why rush it?

For me, a story is to savor. As with making friends, it takes time to get to know the characters and to decide if I want them for friends. So much of today’s writing is plot-driven tripe lacking in what makes life worth living: people, and beautiful things and experiences.

Just imagine if one of today’s thrilling writers were to write “Hills Like White Elephants”? The main characters would probably chug down their beers, and charge onto the train, without ever having a word of conversation. Yep, a fantastic story that.

I don’t want to bump and grind my way through a story. I want to savor it, like I do a cup of tea, or a plate of spaghetti with my favorite sauce, or a crumpet dripping with butter and orange marmalade.

For me, a slower paced story that is packed with suspense, and sprinkled with action, where I can grow to love the characters, and want to read more about them — that’s what I want to read.

I don’t want to read about cardboard people racing hell for leather through situation after situation that in the end I could not care less about.

Unfortunately, for me, what that means, practically speaking, is that entire genres and sub-genres are leaving my reading list. I even find myself abandoning contemporary fiction altogether, in favor of older books because the pacing is often slower, with a focus on building suspense and giving me a main character I care about.

Yes, I’m willing to admit I’m the odd man out. That I’m in the minority. Today’s majority wants herky-jerky story presentation and frantic action. But as P. F. Ford notes in his ads, if you want character and humor rather than blood and gore, then his books are for you.

Nice to know I am not alone.

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

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