Rex Stout | CW Hawes

The Traditional Mystery

Riddles have been with us throughout our recorded history, and probably into our pre-history.

There’s something about the challenge of riddles and puzzles that draws us. Perhaps it’s like any other game: we want to be a winner.

In the world of literature, the traditional mystery, the mystery that began with Poe’s C. Auguste Dupin, became popular with Sherlock Holmes, and entered its Golden Age in the 1930s, is at base a riddle — a puzzle that demands to be solved.

Some of the finest examples are those penned by Agatha Christie. But other excellent mystery writers were Patricia Wentworth, Ngaio Marsh, Margery Allingham, Phoebe Atwood Taylor, Rex Stout, S.S. Van Dine, Jacques Futrelle, Edmund Crispin, Erle Stanley Gardner, and Ellery Queen.

The traditional mystery is a game, as it were, between the author and his/her readers. The author must play fair by giving all of the clues to the reader so that he or she has the chance to figure out whodunit before the detective makes the great reveal at the end of the book.

This game aspect of the classic mystery story pushes it into the realm of fantasy. The classic mystery is, in fact, guilty of Raymond Chandler’s accusation that it isn’t real, or true to life. I’d argue that it was never intended to be true to life.

The traditional detective story is a literary game. It is not meant to be a slice of life. Its purpose is not to expose us to the mean streets and the sordid folk who populate them. The classic mystery is not about the people who really commit murder.

The classic detective novel is a game of Clue in book form. Nothing more, and nothing less. It’s a game, pure and simple. And as such, it is great fun.

Sad to say, the traditional mystery has been on the decline since the 1940s, when, first, the hardboiled novel and then the thriller pushed the classic detective story into the backwater of crime fiction.

And while the number of mystery aficionados continues to dwindle, I have to say that the older I get the more I prefer the mystery to any other genre.

There is something about its simplicity, its gentler pacing, its eccentric characters, and the formulaic settings that I like. After all, the world is too often mean, nasty, and brutish — why do I want my entertainment to also be that way? Isn’t the nightly news enough?

And isn’t life hectic enough? Why do I want my fiction to also proceed at a breakneck pace? Well, I don’t. Which is why I prefer the gentler and more natural pacing of the classic mystery novel.

For me, fiction is a ticket to another world. A world where I can vicariously experience triumph and victory through the exploits of the main character. I read to be entertained. I don’t want a rehash of the nightly news. I read to escape my world. I don’t want my books to put me back into what I’m trying to leave.

Fiction is for fun. And perhaps that is why I so very much enjoy the classic detective mystery: it is first and foremost entertainment. No different than a game of Scrabble, or Clue, or a crossword puzzle, or a riddle. It is a fantasy dressed up in a pseudo-reality. A world that we perhaps wish were our own.

The classic detective mystery is not meant to mimic real life. It’s meant to be a challengingly fun bit of diverting entertainment. And the best mysteries most assuredly are.

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

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

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Bookmans

Tucson has the most wonderful used bookstore. It’s called Bookmans, and this privately owned company is amazing. It’s a used book superstore.

In fact Bookmans is an Arizona treasure, with 3 locations in Tucson, 2 in Flagstaff, and 1 each in Phoenix and Mesa. The company’s been in business since 1976. Check them out at bookmans.com!

The other week I was visiting my dad who lives in Tucson, and set aside one morning to go to Bookmans. Of course I came away with some exciting new gems to add to the library.

The Mad King by Edgar Rice Burroughs

I like Burroughs. He knew how to write a rousing adventure yarn. In fact, he was the model many editors pointed to when advising new writers on how to write.

The Mad King is new to me and I’m looking forward to the read.

Prisoner’s Base and The Black Mountain by Rex Stout

I love the Nero Wolfe series by Rex Stout. In fact, the books are among the very few I re-read. Once upon a time I had the entire series. Today I’m in the process of rebuilding my collection. These two are very welcome. Very welcome indeed!

The Lost Wagon Train by Zane Grey

When a kid, I used to watch Westerns on TV. Shows such as Gunsmoke, Wagon Train, Bonanza, The Lone Ranger, Have Gun — Will Travel, and many others. But I didn’t read Westerns until recently.

Zane Grey is still considered one of the kings among Western writers. So I added this one to my growing Western collection.

The Girl with the Deep Blue Eyes by Lawrence Block

Lawrence Block is an incredibly amazing and versatile writer. I very much like his fiction, and his books for writers are nonpareil. Block can entertain you like few others, and teach you everything you need to know about the writing game. Block delivers, so this one I added to my collection and have already started reading it.

Those were my Bookmans “purchases”. I put that in quotes because that day was my very lucky day. I was one of two winners to get my books for free! How can you not love a bookstore that gives away books?

Reading is the best entertainment. Books are portable storytellers who are always with you. I have many hundreds of physical books and over a thousand on my iPad. Plenty of stories to take me to places and times I could never visit in person.

To me, the person who does not read fiction can only experience the here and now. And as wonderful as that can be, it’s a life devoid of imagination — and that’s only half a life.

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

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The World of Justinia Wright

About a month ago, I wrote a post announcing I’d been given an award by international bestselling authors Caleb and Linda Pirtle. You can read that post here. I’m still excited at being named One of the Top 25 Mystery Writers You Need to be Reading.

There are currently 7 books in the Justinia Wright Private Investigator Mystery Series. Vampire House and Other Early Cases of Justinia Wright, PI, which I’ve numbered Book 0, doesn’t get included on the Amazon series page due to Amazon’s quirky rules.

I’m in the middle of doing line editing and proofreading on Book 7 (actually the 8th book in the series) and hope to publish it by Christmas. More on this book in a future post!

So what is it about the Justinia Wright Private Investigator Mystery Series that makes it worth reading? I thought I’d let some of the reviewers tell you what makes the series so fun to read (and for me, to write!).

Richard Schwindt, who has an excellent amateur sleuth trilogy — The Death in Sioux Lookout Trilogy — and an equally excellent occult detective trilogy — Tony Price: Confidential — wrote this about the world of Tina and Harry Wright:

Some fictional universes are just places you want to be, and I have been so moved by the world CW Hawes has created for private detective Justinia Wright and her brother Harry. Although Hawes has a demonstrated penchant for the scary and grotesque, and can frequently be found (at least in his fiction) underground, he has shown a remarkably light and airy touch in Trio in Death-Sharp Minor. Tina and Harry’s world comes complete with music, art, excellent food and drink. I would drop by their house any time, if only for a glass of Madeira. The three mysteries are deftly written and include an adorable and sexy love affair between Harry and Bea, one of the bereaved from the first story. If you want to check out a good cozy mystery, without the annoyingly twee failings of the genre, you could do much worse than this series. Highly recommended for mystery lovers and anyone looking for an escape with a light touch.

And that is exactly how I feel when I write these mysteries: Tina and Harry’s world is where I want to be.

Another mystery writer, Joe Congel, who writes the superb Tony Razzolito PI Mysteries, wrote this about Tina and Harry:

[But Jesus Never Wept] is the third book in the Justinia Wright Private Investigator series, and it is a top-notch addition to a top-notch series, written by a top-notch author. If you’ve been following the brother/sister PI team, you already know this series is rich in storyline and character development. If you are discovering the Wrights for the first time in this book, you will not be disappointed. However, treat yourself, and go back and read the first two books in this wonderful series.

In this installment, the author mixes religion, the Japanese mob, and high-end prostitution, and wraps it all up in a very engaging murder mystery. But what truly drives this story is the relationship between the main characters – Justinia, Harry, Bea, and Cal. The subplot of their lives is intertwined masterfully with the main plotline of the book, which is the mystery that needs to be solved. And although the idea of an intriguing mystery may have brought you here, the well thought-out, fun, realistic, characters are what will bring you back for more. A great murder mystery will make a great book, but a deeply developed cast of reoccurring characters is what makes a great series… and this is a great series.

I loved the first two books, and this one is no different. It’s why I bought the whole series. I look forward to seeing what the Wright’s get themselves into between the pages of the next book. But don’t take my word for it, try them for yourself – just don’t be surprised if you become addicted.

For me, the story is all about the characters. The plot, or storyline, is simply the characters doing their thing in a particular situation.

I find it very satisfying when my fellow mystery writers have such a glowing opinion of Tina and Harry. They are telling me I have accomplished what I set out to do: to create a world that is as cozy and enjoyable as the one Rex Stout created with Nero Wolfe and Archie Goodwin.

I love Tina and Harry. They were my first children, as it were. In fact, they are older than my daughter! I love the world that Tina and Harry inhabit: a Minneapolis that is akin to the real city, and yet is its own world.

If you desire to travel anywhere in the world right from the comfort of your favorite chair, if you want to entertain yourself at your own pace, if you want to put your worries and problems on a shelf for awhile and lose yourself in someone else’s world — then I encourage you to explore the world of Tina and Harry Wright. It’s a world filled with comfort, good food, and lots of adventure. Live a little from the comfort of your favorite chair, at your own pace.

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Getting into Books

A writing guru whose mailing list I’m on is always advising us writers to sell the read, not the book. And that’s ultimately what we are all trying to do. Some of us just do so better than the rest of us.

As a reader, that is, of course, exactly what I want to know: where will I be going, what will I be experiencing, feeling, doing as the result of reading this book. The book I’m considering buying, or the one I bought and am considering reading.

I read fiction primarily for entertainment. If I learn something new along the way, or am given cause to stop and think for a moment — extra kudos go to the writer.

For me, reading is no different than watching TV, or a movie, or playing a video game. Except my imagination is doing the work, instead of someone else’s — and that’s what makes reading, IMO, the better form of entertainment. Even the best form. Reading is active. Videos, in all forms, are passive. And active is good. Stretching those imagination muscles is good. It’s why reading is my favorite form of entertainment.

The other day I was reading Lawrence Block’s introduction to one of the editions of Black Orchids, the ninth Nero Wolfe mystery, by Rex Stout.

Block’s observation as to why we reread the Nero Wolfe mysteries is enlightening, and I think a vital key as to why some of us really get into books. Block wrote:

I know several men and women who are forever rereading the Nero Wolfe canon. …

They do this not for the plots, which are serviceable, nor for the suspense, which is a good deal short of hair-trigger even on first reading. Nor, I shouldn’t think, are they hoping for fresh insight into the human condition. No, those of us who reread Rex Stout do so for the pure joy of spending a few hours in the most congenial household in American letters, and in the always engaging company of Nero Wolfe and Archie Goodwin.

… we know these two, and it is a joy to see them simply being themselves.

What Block wrote describes to a T why I thoroughly enjoy rereading the Nero Wolfe mysteries. Stout wrote in such a way that we are the fly on the wall observing the goings on in that delightful brownstone.

I’d go one step further than Mr Block: any book I read is for the characters. I don’t read for the plot. One reason, I suppose, why I enjoy plotless novels. I also don’t read for the suspense, which I prefer rather low key. And I’m old enough that I probably won’t learn anything new about the human condition.

I read for the characters — pure and simple. The experience of meeting new and interesting people.

If a writer can deliver the goods, characters I can fall in love with, then he has me hook, line, and sinker. I don’t care what else is in, or not in, the book.

Unfortunately, this does not occur all that often. Most writers seem obsessed with the plot. They are too busy counting plot points or beats, writing a detailed outline, following the Hero’s Quest, or whatever other nonsense is being pushed by the writing guru of the moment.

Most writers fail to heed Bradbury’s Dictum: create your characters, let them do their thing, and there’s your story.

Fiction is not about the plot — it’s about the characters. The characters are the ones who pull us into the settings, the time period, the world they inhabit.

I cannot recall one book where I walked away remembering the plot and not the characters. Not a single one.

At base, plots are simple. There are at most just a handful of stories. They are mundane at best. But characters, like people, are complex. Everyone has an outer life and an inner life. Good characters are no different.

Which is more interesting? Tarzan, or the plot of a Tarzan novel? Dirk Pitt, or the plot of a Dirk Pitt novel? Sherlock Holmes, or the plot of a Sherlock Holmes story?

Many of us would like to get into a spaceship and fly off to other worlds. I don’t remember a single plot in Eric Frank Russell’s Men, Martians, and Machines. But I do remember the chess playing octopoid Martians, and the android Jay Score.

Good characters pull us into their world. We become one with them and experience what they experience. This is because the writer can’t give us everything. He can only suggest, and once he does our imaginations take over and do the rest.

This is not the case with even a good movie or TV episode. That’s because we’re passive. Everything is fed to us. We can only react. We are limited to what’s on the screen — which is why special effects are becoming increasingly important.

However, my imagination can do what special effects will never be able to do. My imagination is mine and makes the story live for me. Special effects are general. They target everyone, and in the end that means they shoot for the lowest common denominator. My imagination produces special effects tailored for me.

The secret to a good book lies in the characters. They make any old plot shine. Because it’s the characters who make the plot come alive. Create the characters, let them do their thing — and there is the story.

As a reader, I appreciate the wonderful characters good writers create.

As a writer, I appreciate the readers who fall in love with my characters.

No greater compliment was paid to me then when this review appeared for Trio in Death-Sharp Minor:

Some fictional universes are just places you want to be, and I have been so moved by the world CW Hawes has created for private detective Justinia Wright and her brother, Harry. … I would drop by their house any time, if only for a glass of Madeira.

Tina and Harry’s home will never top that of Nero Wolfe and Archie Goodwin. However, I will be very satisfied if I’m granted second place.

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

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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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