The Eyes Have It

Posted on January 23, 2022 by James Scott Bell

by James Scott Bell
@jamesscottbell

She put one hand behind her and flipped the snap of her halter and tossed it to the floor, staring at him with eyes of liquid smoke in which there was a curious and great disinterest. – From Here to Eternity by James Jones

Eyes. Windows to the soul. “Traitors of the heart,” Thomas Wyatt put it. He would know. He was accused of ruffling the sheets with Anne Boleyn and got to write his poems in the Tower.

So yes, eyes are important. We look people in the eye when we meet them. (If someone doesn’t look at your eyes when they meet you, watch your back!)

It’s the same with characters, isn’t it? The reader forms a picture of a character—eyes included—whether you choose to describe them or not.

So the first decision you make is whether to include orb details at all. My own preference is to describe them for major and strong secondary characters. Most minor characters and “spear carriers” (those little one-offs needed for a scene, like a waiter or doorman) usually don’t need them.

Once we decide to describe the eyes, we usually first think of color. Something along the lines of She had blue eyes and wore a yellow dress. Functional but not memorable. More lush is Margaret Mithcell’s famous opening to Gone With the Wind:

Scarlett O’Hara was not beautiful, but men seldom realized it when caught by her charm as the Tarleton twins were. In her face were too sharply blended the delicate features of her mother, a Coast aristocracy of French descent, and the heavy ones of her florid Irish father. But it was an arresting face, pointed of chin, square of jaw. Her eyes were pale green without a touch of hazel, starred with bristly black lashes and slightly tilted at the ends.

(Note: those green peepers were so important to fans of the book that when blue-eyed Vivien Leigh was cast as Scarlett for the movie, there was an uproar. Producer David O. Selznick took care of that by having yellow lights trained on Leigh’s face in closeups, turning blue to green.)

You can add to the color by including the effect the eyes have on the viewpoint character, as in Richard Prather’s noir story “The Double Take”—

Her eyes were an incredibly light electric blue—shooting sparks at me.

Similar is the description of Hannibal Lecter in The Silence of the Lambs:

Dr. Lecter’s eyes are maroon and they reflect the light in pinpoints of red. Sometimes the points of light seem to fly like sparks to his center. His eyes held Starling whole.

David Copperfield describes the first time he saw the face of Uriah Heep:

It belonged to a red-haired person—a youth of fifteen, as I take it now, but looking much older—whose hair was cropped as close as the closest stubble; who had hardly any eyebrows, and no eyelashes, and eyes of a red-brown, so unsheltered and unshaded, that I remember wondering how he went to sleep.

While color is our natural default when describing eyes, it’s not a requirement. A popular alternative is metaphor.

His eyes were wet wounded rugs.
(Revenge of the Lawn by Richard Brautigan)

He hadn’t shaved for four or five days. His nose was pinched. And his eyes were like holes poked in a snowbank. (The Long Goodbye by Raymond Chandler)

I’ve been in front of X-ray machines that didn’t get as close to the bone as that woman’s eyes. (The Name of the Game is Death by Dan J. Marlowe)

She had a lot of face and chin. She had pewter-colored hair set in a ruthless permanent, a hard beak and large moist eyes with the sympathetic expression of wet stones. (The High Window by Raymond Chandler)

Richard Matheson’s famous Sci-Fi story “Lover When You’re Near Me” takes place in the distant future on a colonized planet inhabited by creatures called Gnees.

He sat there, momentarily reflecting on her eyes. They were huge eyes, covering a full third of her face; like big glass saucers with dark cup rings for pupils. And they were moist; bowls of liquid.

I’m saving the best for last. Here is an eye description I’ve never forgotten, so perfectly did it capture a character. It’s from Darker Than Amber by the great John D. MacDonald:

She sat up slowly, looked in turn at each of us, and her dark eyes were like twin entrances to two deep caves. Nothing lived in those caves. Maybe something had, once upon a time. There were piles of picked bones back in there, some scribbling on the walls, and some gray ash where the fires had been.

The eyes have it—perhaps more than any other descriptive element they can give us a sense of who the character is and what mysteries dwell within. Use color, metaphor, and/or the effect the eyes have on the viewpoint character, and your fiction will be looking good.

How do you go about describing the eyes of your characters?

Squeeze More Conflict Out of Your Settings

Posted on August 22, 2021 by James Scott Bell

by James Scott Bell
@jamesscottbell

Clare’s post on Monday brought up the subject of what I call “the lifeblood of fiction”—conflict. This is usually the first lesson a young writer learns, and rightly so. No conflict, no story. No conflict, no interest. Maybe you can skate along for a page or two with a quirky character, but said character will soon wear out his welcome if not confronted with some sort of disturbance, threat, or opposition.

When the subject comes up in fiction workshops, we focus on conflict between characters—story people with differing agendas, clashing. It can be as simple as a couple arguing about what to make for dinner, or as crucial as a cop interrogating a suspect. But some sort of conflict or tension—even if it’s inner conflict when the character is alone—is needed in every scene.

And don’t ignore the potential for conflict in a setting. Where you place your story world and each individual scene should never be done without a little brainstorming on the physical locale as a way to create more trouble.

Three areas to consider:

Story World

What is the macro world of your story? How can you use it to heighten the tension?

Most of my Mike Romeo thrillers, like Chandler’s Marlowe novels, are set in my hometown, Los Angeles. Not just because I know it, but because it is in my humble opinion the greatest noir/crime/suspense city in the world. Any big city has its crime beat, but in L.A. it’s marvelously varied and malleable. So many neighborhoods, each with a unique vibe. Crime is not limited to the night, which is usually what you get in a film noir set in, say, New York. Here in L.A., crime is a daytime thing, too.

Every now and then Romeo goes off to another place. In Romeo’s Way it’s San Francisco. I wrote about that research here. I felt I had to visit and walk the streets I was writing about. I came up with some great details I wouldn’t have found any other way.

Romeo’s Stand, on the other hand, takes place in a small desert town in Nevada. What was my research on that one? My head. I made the place up. That’s a time-honored method (think of Ross Macdonald and Sue Grafton using Santa Teresa as a Doppelganger for Santa Barbara). It allows you to make up physical locations as you see fit.

But do make them up, just as if they were real places. My imaginary town was as vivid to me as any place I’ve ever visited, right down to the heat on the streets and the paint peeling on the buildings.

Scenes

Los Angeles has an infinite variety of locations for setting a scene. Some of the settings in my new Romeo, Romeo’s Town, are Skid Row, Juvenile Hall, Paradise Cove, Hollywood Boulevard, Simi Valley, Box Canyon, even little Johnny Carson Park in Burbank. I’ve visited them all, and when writing each scene I let my imagination roam a little bit over the landscape to see what popped up.

For example, Box Canyon is the most rustic community in L.A. county, tightly packed into hills made up mostly of sandstone boulders. I chose this location for a particular scene because the rocks presented a unique challenge for the characters.

Backstory

And don’t forget backstory as a means of generating conflict. Only in this case, it’s inner conflict by way of “the ghost.” That’s an event that deeply and negatively affected the character in the past which now hovers over her present. A vivid setting helps here, too.

A prime example is Clarice Starling in The Silence of the Lambs. She is haunted by the memory of when she was ten years old. The setting was a sheep and horse ranch owned by her mother’s cousin, where Clarice went to live. Clarice would wake up early in the morning, while it was yet dark, hearing the screaming of spring lambs being slaughtered. The diabolical Lecter prods this story out of her and uses it to dig deeply into her psyche. This ghost intensifies our sympathy for Clarice.

I’m not one for massive character biographies or dossiers before I begin to write. I like a few salient details, mainly about looks and vocation. I flesh the character out as I write to fit the developing story. But for main characters I do spend time brainstorming key backstory settings and events. I’m looking for that ghost that can partly explain how and why a character is acting the way he is, and not revealing it until later in the story.

Suffice to say Mike Romeo has such a ghost. It’s with him in every book.

Which brings me to my announcement that the new Romeo I mentioned, Romeo’s Town, is up for pre-order. You can lock in the deal price of $2.99 by ordering now. Here is the link. If you’re outside the U.S., simply go to your Amazon site and search for: B09CFTLDKJ.

The ad line:

L.A. is Romeo’s Town. Keep off the grass.

Lets chat:

In your WIP, where is your Lead’s story world? Have you thought about its physicality as a source for conflict? Does your Lead have a “ghost” from the past that haunts the present?

Writing Hardboiled Fiction

Posted on April 4, 2021 by James Scott Bell

by James Scott Bell
@jamesscottbell

Would there be a Mike Romeo without Race Williams?

Scholars are pretty much in agreement that the first—and for a couple of decades the most popular—hardboiled series character came from the typewriter of the prolific pulp writer Carroll John Daly. His PI, Race Williams, appeared in over 70 stories and 8 novels, up until Daly’s death in 1958.

Today Race and Daly are all but forgotten, having been overshadowed by writers like Hammett, Chandler, Spillane, Ross Macdonald, and John D. MacDonald. I think this is a mistake. The Race Williams stories, though not on par with Chandler’s Philip Marlowe or Hammett’s Continental Op, are still a fun, juicy read—exactly what America was hankering for during the Roaring Twenties and the Great Depression.

Race Williams made his debut in the December 1922 issue of Black Mask. He became the prototype of the hardboiled private eye, with these features:

First-person narration, with attitude
Lots of action
Cynicism
Dangerous dames (the femme fatale)
A dearth of sentimentality
Violence to end things, usually from a gat

It’s clear that Daly’s style and popularity influenced Chandler, who took the PI story to its heights. And because of Chandler we’ve had a long line of popular PIs, including Robert B. Parker’s Spenser and Sue Grafton’s Kinsey Millhone.

Mickey Spillane, creator of arguably the hardest of the hardboileds (Mike Hammer), and at one time the bestselling author in the world, said Race Williams was his inspiration. In fact, in the mid 1950s he wrote a fan letter to Daly, who was living in obscurity in California. The letter said, in part:

Right now I’m sitting on the top of the heap with my Mike Hammer series, but though the character is original, his personality certainly isn’t. Sometimes I wonder if you’ve ever read some of the statements I’ve released when they ask me who I model my writing after. Maybe you know already. Mike and the Race Williams of the middle thirties could be twins.

Yours was the first and only style of writing that ever influenced me in any way. Race was the model for Mike; and I can’t say more in this case than imitation being the most sincere form of flattery. The public in accepting my books were in reality accepting the kind of work you have done.

Side note: this effusive praise got into the hands of Daly’s agent, who began a lawsuit against Spillane for plagiarism! When Daly found out he was incensed, and fired her. He was actually delighted with Spillane’s letter because it was the first fan letter he’d had in 25 years.

Speaking of Spillane, and his lifetime sales of around 225 million books, what explains the popularity of Mike Hammer? According to Prof. David Schmid in The Secrets of Great Mystery and Suspense Fiction, the factors are:

Hammer’s absolute conviction about matters of good and evil
the way he keeps his promises
his brutally effective approach to problems and challenges
his impatience with the system
his fondness for vigilante justice

Most of these factors are baked into my own Mike Romeo series. To them I’ve added some unique elements, which is a key to writing any current hardboiled hero. You want to pay homage to the past, but you also have to make it feel new and fresh.

I look back and see a clear line of influence:

Carroll John Daly >> Raymond Chandler >> Mickey Spillane >> John D. MacDonald >> Mike Romeo

So the question of the day is: can you discern a line of influence in your own writing? How far back does it go?

Who is on Your Writing Rushmore?

Posted on February 21, 2021 by James Scott Bell

by James Scott Bell
@jamesscottbell

A few reflections on the recent Super Bowl.

First of all, what more can be said of Tom Brady? I mean, it’s astounding. It’s not just that he has won seven Super Bowls—more than any other franchise in league history—it’s that he won the latest at the age of 43! And with a full head of hair! And a new team! And he’s going to come back and play at least another year! Exclamation points are required for all this!

On Using Humor in Fiction

Posted on December 13, 2020 by James Scott Bell

by James Scott Bell
@jamesscottbell

I received the following email the other day, and present it here with the sender’s permission.

Dear Mr. Bell,
Your Great Courses lectures on writing best-selling fiction are packed with helpful information, and because of them I’m now making progress with my fiction-writing. But I struggle with humor, since I am not naturally funny. I rarely come out with anything that makes people laugh, and when I do, it’s usually accidental.
I’ve begun reading Try Fear, and am impressed by how masterfully you inject humor into your fiction. Would you recommend a resource for learning to write humor?
I’m a children’s writer, with a couple of non-fiction articles and one book for the educational market to my credit, but I’ve caught the fiction bug and am attempting the leap from nonfiction to fiction. I’d be grateful for any suggestions you have on learning to write humor.

Great question, and one I don’t remember addressing before.

Let’s first distinguish between two types of book-length fiction: the humorous novel and the novel with humor. In the former case, the whole enterprise is based on getting laughs. Douglas Adams’ The Hitchhiker’s Guide to the Galaxy is a prime example. In the latter type of novel, humor is used for what the dramatists call “comic relief.” Shakespeare employed this device frequently, most famously with the gravediggers in Hamlet.

As to the first type, I don’t have anything to offer, except: proceed with caution. It takes a rare talent—like a Douglas Adams or a Carl Hiaasen—to succeed with this kind of novel. Also note that comic novels don’t sell much as compared to their more serious cousins. Early in his career Dean Koontz tried his hand at a humorous novel, a la Catch-22, and determined this was not a genre that paid. Since going serious, with humor sprinkled it, Mr. Koontz has made a few bucks.

So let’s talk about humor used on occasion in an otherwise serious novel. Why have it at all? Comic relief, as the name implies, is a spot within the suspense where the audience can catch its breath. It delivers a slight respite before resuming the tension. It’s sort of like the pause at the top of a roller-coaster. You take in a breath, look at the nice view and then…BOOM! Off you go again. It adds a pleasing, emotional crosscurrent to the fictive dream, which is what readers are paying for, after all.

I see three main ways to weave humor into a novel: situational, descriptive, and conversational.

Situational

You can insert a scene, or a long beat within a scene, that takes its comic effect from the situation the character finds himself in. For an example I turn to the great Alfred Hitchcock, who almost always has comic relief in his masterpieces of suspense.

Like the auction scene in North by Northwest. Roger Thornhill (Cary Grant) has been mistakenly tagged as a U.S. secret agent by a group of bad guys. At one point, Thornhill walks into a fancy art auction to confront the chief bad guy (James Mason). But now he’s stuck there with three deadly henchmen waiting in the wings to send him to the eternal dirt nap.

So Thornhill hatches a plan. Act like a nut and cause a commotion so the cops will come in and arrest him, saving him from the assassins. This is how it goes down:

How do you find situational humor? You look at a scene and the circumstances and push beyond what is expected. Most humor is based upon the unexpected. That’s what makes for the punch line in a joke, for example. So make a list of possible unexpected actions your character might take or encounter, and surely one of them will be the seed of comic relief.

Descriptive

When you are writing in First Person POV, the voice of the narrator can drop in a bit of humor when describing a setting or another character. The master of colorful description was, of course, Raymond Chandler, through the voice of his detective, Philip Marlowe:

It must have been Friday because the fish smell from the Mansion House coffee-shop next door was strong enough to build a garage on. (“Bay City Blues)

From thirty feet away she looked like a lot of class. From ten feet away she looked like something made up to be seen from thirty feet away. (The High Window)

It was a blonde. A blonde to make a bishop kick a hole in a stained-glass window. (Farewell, My Lovely)

The girl gave him a look which ought to have stuck at least four inches out of his back. (The Long Goodbye)

For descriptive humor, listen to your character. Use a voice journal to let the character riff for awhile. You’ll unearth a nugget or two of descriptive gold.

Conversational

Dialogue presents many possibilities for humor. First, you can create characters who have the potential for funny talk. Second, you can take create conversational situations where such talk is possible. I had two great aunts who lived together in their later years. They had a way of subtly sniping at each other over minor matters, which was always a source of amusement to me. So I put them in my thriller, Long Lost, as two volunteers at a small hospital:

Just inside the front doors, two elderly women sat at a reception desk. They were dressed in blue smocks with yellow tags identifying them as volunteers. One of them had slate-colored hair done up in curls. The other had dyed hers a shade of red that did not exist in nature.

They looked surprised and delighted when Steve came in, as if he were the Pony Express riding into the fort.

They fought for the first word. Curls said, “May I help—” at the same time Red said, “Who are you here to—”

They stopped and looked at each other, half-annoyed, half-amused, then back at Steve.

And spoke over each other again.

“Let me help you out,” Steve said. “I’m looking for a doctor, a certain—”

“Are you hurt?” Curls said.

“Our emergency entrance is around to the side,” Red said.

“No, I—”

“Oh, but we just had a shooting,” Curls said.

“A stinking old man,” Red added.

“Not stinking,” Curls said. “Stinko. He was drunk.”

“When you’re drunk you can stink, too,” Red said.

“That’s hardly the point,” Curls said.

And it goes on like that.

I think you can develop an ear for this kind of humor by soaking in the masters of verbal comedy. Start with Marx Brothers, especially their five best movies: The Coconuts, Animal Crackers, Monkey Business, Horse Feathers, Duck Soup.

Listen to the classic conversational routines of Bob Newhart (available on YouTube). My favorite is “The Driving Instructor.”

Also on YouTube: Bob & Ray. The great thing about their skits is how they play them with dead seriousness. That’s where the humor comes from, which is a lesson for writers. This isn’t about jokes. It’s about natural humor found in a fully developed dramatic situation.

If you want to do some reading on the subject, you might pick up a copy of Steve Allen’s How to Be Funny. Allen was one of the great verbal wits.

There’s also a little gem of a book on writing comedy. It’s the nearly-lost wisdom of Danny Simon, Neil’s older brother (whom Neil and Woody Allen both credit with teaching them how to write narrative comedy). Danny Simon never wrote a book on the subject. He did teach a famous comedy writing class in Los Angeles. Thankfully, one of his students took copious notes and organized them for posterity. That student was me, and the little book is here.

The floor is now open for discussion on these matters. Meanwhile, I can’t resist leaving you with my all-time favorite Bob & Ray routine. Enjoy!

The Terrible Task of Weeding Out Books

Posted on November 8, 2020 by James Scott Bell

by James Scott Bell
@jamesscottbell

“Fill your house with stacks of books, in all the crannies and all the nooks.” — Dr. Seuss

“And when the books come falling down, I hope they find you ere you drown.” — Dr. JSB

It had to happen sooner or later. And now it’s later. I can’t put it off any longer. It’s time to disgorge a significant number of the books that stuff all the spaces in every room in my house—except, of course, the bathrooms, wherein the reading material is imported singulatim.

Like you all, I’m a book lover. How can anyone not be and become a writer? I don’t think that’s possible. With books I purchase, my practice has always been to read them and keep them. I’ve always loved being surrounded by books. Right now in my office all four walls have shelves stuffed with reading matter—literary kudzu.

But I know that someday I will be moving from my abode. So as much as it hurts, I need to make a significant dent in my stacks. I’m trying to be systematic.

First off, I know I’m keeping some series and not others. I’ll keep Connelly, Chandler, Parker, MacDonald, Spillane. But I’m finally ditching Ross Macdonald. I’ve read all his books because Anthony Boucher tagged him as the best of the PI writers. He has a great following among critics. But I never connected with him or his PI, Lew Archer. And I simply don’t have time to try again.

I have a shelf of hardcovers autographed by the authors. I’ll keep those. Ditto my collectibles. I have some oldies that are probably worth something. I’ll let my kids figure that out someday via ebay.

Another stratagem: I’m reading first chapters at random. If it grabs me, I’ll keep that book (if I think I might read it again). If not, it goes in the giveaway box. Here are some books that have survived:

Rebecca by Daphne du Maurier
At All Costs by John Gilstrap
The Postman Always Rings Twice by James M. Cain
The Human Comedy by William Saroyan
Final Seconds by John Lutz and David August
Sometimes a Great Notion by Ken Kesey
361 by Donald Westlake
White Oleander by Janet Fitch

Sometimes the writing might be fine, but something else will come up that causes me to pitch the book. An overabundance of F and S words, for example. Or something that doesn’t seem plausible. Ed McBain’s legal thriller Mary, Mary didn’t make the cut for just that reason. I was hooked by the first page. The narrator, lawyer Matthew Hope, is interviewing a potential client accused of murder. But then he states, [I]t was my policy never to defend anyone I thought was guilty.

Ack! No criminal defense lawyer ever says that, because he’d never have any clients. The defense lawyer’s job is to make sure the cops haven’t overstepped their constitutional bounds, and hold the prosecution to its burden of proof. So nix to this book and the others in the Matthew Hope series.

What am I looking for in that first chapter? We talk about that a lot here at TKZ. I want a grabber hook or a grabber voice—having both is a bonus. An example of a grabber hook is the opening of Harlan Coben’s Promise Me:

The missing girl—there had been unceasing news reports, always flashing to that achingly ordinary school portrait of the vanished teen, you know the one, with the rainbow-swirl background, the girl’s hair too straight, her smile too self-conscious, then a quick cut to the worried parents on the front lawn, microphones surrounding them, Mom silently tearful, Dad reading a statement with quivering lip—that girl, that missing girl had just walked past Edna Skylar.

For grabber voice, here’s the opening of High Five by Janet Evanovich:

When I was a little girl I used to dress Barbie up without underpants. On the outside, she’d look like the perfect lady. Tasteful plastic heels, tailored suit. But underneath, she was naked. I’m a bail enforcement agent now—also known as a fugitive apprehension agent, also known as a bounty hunter. I bring ’em back dead or alive. At least I try. And being a bail enforcement agent is a little like being bare-bottom Barbie. It’s about having a secret. And it’s about wearing a lot of bravado on the outside when you’re really operating without underpants.

Nonfiction is much harder for me to cull. I read nonfiction for specific information that interests me, and I make heavy use of the highlighter. When I’m finished I keep the book because I think maybe I’ll need that information again sometime. And hasn’t this happened to you: The moment I give a book away, or let someone borrow it, not a week goes by before I need something from that very book!

So I don’t know what to do about my NF. I know I’ll never give away my writing craft books. I have several shelves of these, and they are an archaeological record of my writing journey. I often refer to them for refreshers.

I’m heavily stocked with biography, history, philosophy, theology, reference. Alas, I can’t see myself parting with many of these. I have a full set of the 1947 edition of the Encyclopedia Britannica (handed down from my grandfather, who sold them door-to-door during the Depression). I keep this because the articles in it are often so much better and more authoritative than what you find online these days. Also, in a special bookcase, is my Great Books of the Western World set, complete with the incredible achievement that is the Syntopicon. That’s obviously staying put.

Which makes all this slow going! I have a feeling it’s going to take years to gain any significant space. I’m sure I’ll have to revisit my criteria down the line and get tougher on myself.

“A room without books,” wrote Cicero, “is like a body without a soul.” I’m right with you there, Cic. But now what?

Do you have any advice for this melancholy bibliophile?

The Vision on the Stairway

Posted on July 26, 2020 by James Scott Bell

by James Scott Bell
@jamesscottbell

Forty years ago—today—I went to a birthday party for one of my best friends from high school. It was held in his second-story apartment in North Hollywood, and the place was packed.

At one point in the festivities I went downstairs to the courtyard to chat with a couple of buddies. We sat there chewing the proverbial fat, the subject of which I have long since forgotten. Then it happened. A glance that changed my life.

Out of the corner of my eye I saw someone bounding up the stairs toward the party. I turned. And saw a vision. If I may purloin Raymond Chandler’s line from Farewell, My Lovely: It was a blonde. A blonde to make a bishop kick a hole in a stained-glass window.

The Vision on the Stairway

To my courtyard companions I said, “I’ll see you later.” Up the stairs I went and into the apartment as my friend Daryl was hugging the vision, who had her back to me. Daryl saw me and silently pointed to her as if to say, This is the one I’ve been telling you about.

For several years Daryl had told me about a beautiful, funny, talented singer/actress he knew from a restaurant where they had both waited tables. Somehow I was never in the right place to meet her. Indeed, at the time of the party, I was living in New York, pounding the pavement as an actor. A strike by Actors’ Equity had dried up auditions, so I’d flown out to L.A. to see if I could drum up some work.

Daryl finished the hug and turned the vision around to meet me. I looked into her eyes for the first time and was a goner. Cupid used me for target practice.

Cindy—for that was, and is, her name—and I talked for a couple of hours, much of it over a bowl of peanut M&Ms in Daryl’s kitchen. We talked about Broadway and Sondheim and growing up in the San Fernando Valley. We shared funny anecdotes from our waitering stints. We even discovered we were on a similar spiritual journey. When Cindy mentioned she was thinking of attending church the next day, I adroitly suggested we go together and have brunch afterward.

Which is what we did.

Two and a half weeks later I asked her to marry me. Cindy wisely suggested we pump the brakes a bit. I cared not for brakes. I was doing 150 on the Ardor Motor Speedway. So I cajoled and coaxed. I even inveigled. And she finally said Yes.

Eight months later we were wed. It is still the best thing that’s ever happened to me. Astonishing, too, when I think of all the pieces that had to fall into place: Actors’ strike in New York, which is why I happened to be in L.A. Cindy told me later she almost didn’t make it to the party. She’d put in a hard day’s work performing with a song-and-dance troupe at Magic Mountain. She was just going to go home, but somehow missed her turn off the freeway and decided, what the heck, she was close to Daryl’s. She almost didn’t stay because there weren’t any parking spots on the street. But just before she drove off, one opened up. And then, of course, I happened to glance at the vision on the stairway at just the right time.

Life imitating art, wouldn’t you say? Our fiction is a series of moments that lead to other moments, a connecting of dots to form a pattern of our choosing. Forty years ago, a pattern chose Cindy and me. We’ve been working on that tapestry ever since, weaving in two children and three grandchildren.

This evening I will take my wife to a lovely, outdoor restaurant overlooking a lake. We will not talk of lockdowns or viruses or politics. We will talk—with gratitude—of forty years together. At one point I will mention, as I have many times in the past, that Cindy is a saint for being such a loyal life partner for one such as I.

And still a vision.

Thrillers Bring the Light

Posted on May 17, 2020 by James Scott Bell

by James Scott Bell
@jamesscottbell

As if things weren’t bad enough.

We’re struggling through this national shutdown and all the dire consequences thereof, and along comes exactly what we don’t need: The murder hornet!

Yes, this unsightly wasp with its ugly orange head and relatively large body mass, has arrived on our shores intent on killing innocent little honey bees and, indeed, the occasional human.

But just when we think we are in the midst of a Stephen King nightmare, along comes a hero, a savior, a defender of all that is good and decent and pure: the praying mantis!

How appropriate that the vanquisher of a grotesque insect villain should turn out to be an insect of another sort—one that humbly supplicates to the Creator before chomping the brains of its adversary.

That’s entomological justice!

Which is what mystery, suspense, and thrillers are all about. They take us through the valley of the shadow of death, toward the light on the other side.

At least, the best ones do.

That’s been the secret of the popularity of this kind of fiction since it took off in the nineteenth century. Most scholars agree that the modern mystery story can be traced to Poe’s “The Murders in the Rue Morgue” (1841). Here is the invention of the sleuth who, through the powers of observation and deduction, solves a seemingly inexplicable crime.

Which offers hope to a population that must believe, “Crime doesn’t pay.”

Sir Arthur Conan Doyle took it to the next level with the invention of Sherlock Holmes. Holmes endures, even today, not simply because of his brainpower, but because of his eccentricities. He’s entertaining as well as brilliant. He’s flawed, too, just like us. But again we see the hope that deduction brings—justice will be done.

Back here in America we took the simple mystery and transformed it through the hardboiled school of the pulps. The quintessential detective hero of this type issued from the typewriter of Dashiell Hammett: Sam Spade in The Maltese Falcon (1930). This hero is not refined or dainty or a tea drinker. He is tough, cynical, sometimes brutal. But in the end he still gets justice. The mystery of the black bird is solved, but more importantly each of the nefarious characters Spade has dealt with get their comeuppance, including the femme fatale Spade has fallen in love with, Brigid O’Shaughnessy. Spade “sends her over” because, after all, she killed his partner. Spade tries to explain it to her: “When a man’s partner is killed he’s supposed to do something about it. It doesn’t make any difference what you thought of him. He was your partner and you’re supposed to do something about it.”

Underneath his contradictions, Sam Spade is still guided by a moral code.

In the detective pantheon, Spade was followed by Raymond Chandler’s Philip Marlowe. Marlowe, like Spade, is tough and cynical (but a lot more fun to listen to) and has a code based on honor. Indeed, in Chandler’s world, Marlowe is something of knight errant in a fedora. Chandler made this plain in his 1944 essay, “The Simple Art of Murder.” Here is the famous passage:

But down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid. The detective in this kind of story must be such a man. He is the hero, he is everything. He must be a complete man and a common man and yet an unusual man. He must be, to use a rather weathered phrase, a man of honor, by instinct, by inevitability, without thought of it, and certainly without saying it. He must be the best man in his world and; a good enough man for any world.

As Professor David Schmid puts it in his course on mystery and suspense fiction:

Chandler’s essay helps us understand that hard-boiled mysteries appeal to the reader both because of their unvarnished, realistic cynicism and also because their private-eye protagonists embody an alternative to that cynicism, an oasis of personal responsibility and integrity in a world that is sorely in need of both.

The world is always in need of the heroic vision. The best thriller, mystery, and suspense novels offer that to us. No matter how mean the streets, or dark the night, justice, even if rough, somehow prevails through the strength and courage of the hero.

Yes, there is a type of novel that begins and ends in the darkness—noir. For example, the world of Jim Thompson (e.g., The Killer Inside Me; Savage Night) is not your grandmother’s cozy little village. Yet even as his grifters and psychopaths meet their ends, there is a rough noir-justice being doled out. While it isn’t a hero who “solves” things, there is a price to pay for the criminal choices made.This type of novel provides what Aristotle called catharsis. We see the consequences of an immoral life and thus are instructed not to go there. Thus, even dark noir can have a candlelight’s flame of moral illumination.

All this to say that the lasting popularity of mystery, suspense, and thrillers is based primarily on a hero bringing us justice, re-enforcing our belief that good will prevail and that light will shine again. As Dr. Schmid says at the end of his course:

Although experimental examples of mystery and suspense fiction may be well respected as aesthetic objects, they aren’t popular with wide audiences. In the final analysis, it seems that we can tolerate only so much experimentation and frustration. Perhaps the ultimate secret to great mystery and suspense fiction is that, in one way or another, it satisfies a deep-seated desire we all have for the world around us to make sense.

Isn’t that why you continue to read this kind of fiction? In a world that increasingly isn’t making sense, don’t we need these books more than ever?

Escapism Rocks!

Posted on May 5, 2019 by James Scott Bell

by James Scott Bell
@jamesscottbell

There’s always been a certain amount of stress associated with being alive. In pre-historic times, this was largely based on concerns over being eaten by large animals. Or by having pointy things stuck into your body by the tribe down the road. At the same time, you had crops to attend to and weather events to deal with. All with no TV, internet, or Candy Crush.

Later on, the Greeks sat around inventing philosophy and giving people more reasons for stress, as in, trying to figure out the point of this bewildering existence. Religion was asking the same questions in places like India, China, and Jerusalem.

As the great historians say, stuff happens. Like war. More stress. In America we had a war oddly called “Civil.” And later joined the right side in a couple of wars big enough to be called “World.”

In between WWI and II, we had the Great Depression, and the stress of actually getting food onto the table. Jobs were scarce. Prospects, in many cases, dim.

Which is where escapism stepped in to offer rays of entertaining sunshine. You had the movies, of course. For a dime you could spend a few hours with Astaire and Rogers, Gable and Tracy, Hepburn and Grant. Radio was pervasive, providing laughs from Benny and Hope and Fibber McGee, and adventures with The Lone Ranger and The Shadow. And comfort by way of “fireside chats” delivered by President Franklin Delano Roosevelt himself.

But by far the most popular form of escapism came by way of the pulp magazines. In the 1930s the pulps were booming. Newsstands and drug stores carried dozens of magazines with names like Black Mask, Dime Detective, Amazing Stories, Adventure, and Thrilling Western. Popular series characters (what the great pulp writer Erle Stanley Gardner called “the writer’s insurance policy”) included Nick Carter, Doc Savage, Tarzan, Conan the Cimmerian, Buck Rogers, Sailor Steve Costigan, and Bill Lennox.

Indeed, some of our best American writers came out of the pulps—people like Dashiell Hammett, Raymond Chandler, Robert E. Howard, Fredric Brown, and Horace McCoy. Not to mention the many steady professionals who knew one thing above all—how to tell a dang good story.

And just what did these stories have in common? I think Gardner himself said it best:

“The public wants stories because it wants to escape.…The writer is bringing moral strength to many millions of people because the successful story inspires the audience. If a story doesn’t inspire an audience in some way, it is no good.”

I believe this is still true. Which is why I’m launching my own short fiction channel via Patreon.

If you’re not familiar with Patreon, it’s a site where artists of various stripes can find support for their work. Friends, family, and fans become patrons of the artist. Usually that comes in the form of monthly pledges, in return for which a patron receives various benefits, such as early access to new work or a personally autographed print.

But there is another model called “per creation,” which seems to me more applicable to writers. In this model, patrons are not charged monthly, but only when an actual story is published. My job is to deliver the goods, which means entertaining escapism for a busy reading public. Stories you can read on the subway or the bus, or while waiting for the doctor, or simply at home after a long day when you don’t feel like cracking Moby Dick.

All of the details about this venture are on my page. I hope some of you will join me in this venture. The stories I publish will not appear anywhere else. You’ll be able to read this exclusive content online, on your phone via the free Patreon app, or on your Kindle, Nook or Kobo ereader.

My first story will come out June 1. It takes place in Hollywood in 1945. There’s a movie studio, a murder, and a studio troubleshooter named William “Wild Bill” Armbrewster. He’s going to be a series character, so this would be a good time to get in on the ground floor.

Because in times such as these, escapism rocks.

So what are some of your favorite books, movies, or TV shows when you simply want to escape?

Don’t Kill Your Darlings—Give Them a Fair Trial!

Posted on April 2, 2017 by James Scott Bell

by James Scott Bell
@jamesscottbell

I’ve never been a big fan of the writing admonition to Kill your darlings. It’s been a virtual axiom among writers for decades. Yet it seems to me about as useful as Destroy your delight and as cold-hearted as Drown your puppies.

I mean, if something is your darling, should your first instinct be to end its life? Sounds positively psychopathic.

Isn’t a darling at least owed a fair trial?

The phrase itself has its origin in a lecture on style delivered by the English writer Sir Arthur Quiller-Couch back in 1914. He said:

To begin with, let me plead that you have been told of one or two things which Style is not; which have little or nothing to do with Style, though sometimes vulgarly mistaken for it. Style, for example, is not—can never be—extraneous Ornament … [I]f you here require a practical rule of me, I will present you with this: ‘Whenever you feel an impulse to perpetrate a piece of exceptionally fine writing, obey it—whole-heartedly—and delete it before sending your manuscript to press. Murder your darlings.’

At least Sir Arthur was honest enough to call it murder! But murder requires malice aforethought, and that is a terrible way to think about a darling.

Darlingicide should be outlawed, not encouraged!

Stephen King strikes the right balance. In his book On Writing King says the whole idea behind “kill your darlings” is to make sure your style is “reasonably reader-friendly.”

Which means sometimes a darling stays, sometimes it goes, and sometimes you give it a skillful edit.

It’s mostly a matter of ear, what it sounds like. It’s that thing called voice, which is (as I’ve defined it) a synergy of author, character, and craft. You can develop an instinct for the right sound. The more you practice, the better you get.

Begin by being aware of three areas where darlings tend to present themselves:

Metaphors, Similes and Turns of Phrase

I love writing that creates striking word pictures. That’s why I dig Raymond Chandler over most of his contemporaries. I mean, come on, you have to love things like this:

I lit a cigarette. It tasted like a plumber’s handkerchief. (Farewell, My Lovely)

It was a blonde. A blonde to make a bishop kick a hole in a stained glass window. (Farewell, My Lovely)

From 30 feet away she looked like a lot of class. From 10 feet away she looked like something made up to be seen from 30 feet away. (The High Window)

Obviously, finding just the right touch for this is crucial. I use metaphors and similes in my Mike Romeo series, because it’s true to his character. But my wife (and first editor) is usually right when she says, “This is too much” or “I have no idea what this is supposed to mean.”

Then I don’t kill the darling. But I do show her the door. Much more civilized.

Dialogue

There’s a fine line between memorable dialogue and dialogue that seems to be straining too hard to be memorable.

In Revision and Self-Editing I suggest “one gem per act” as a rule of thumb. A line that really shines. One that you work and re-work.

In my workshops I’ll use an example from the movie The Godfather. It’s in the scene where Michael comes to Las Vegas to tell Moe Green that the Corleone family is taking over. Moe Green is furious. He shouts, “Do you know who I am? I’m Moe Green! I made my bones when you were in high school!”

Actually, no, he doesn’t say that. That wouldn’t be all that memorable. Here’s the actual line: “Do you know who I am? I’m Moe Green! I made my bones when you were going out with cheerleaders!”

Ah…

Perhaps this line went through a few iterations. Anything more added to it would have killed the effect. It would have been too darling.

Make sure your dialogue is true to the character who speaks it and true to the moment.

Emotional Beats

Some time ago I read a scene from a manuscript by a young writer. It involved two women who are natural adversaries. The dialogue was pretty good between these two, but unfortunately it was slowed down considerably by line after line of emotional beats. Here’s an example of what I mean (I’m making this up):

“I don’t know what you mean,” Audrey said.

Sally felt the pull on her heart. Did Audrey really not know? How could she not?

“Do I have to spell it out for you?” Sally said. Her hands trembled as she waited for Audrey to answer.

“Maybe you’re talking about Frank,” Audrey said.

Frank’s name on Audrey’s lips made Sally stiffen. If only Frank were really there! But she mustn’t let Audrey see any longing in her eyes.

“I think we should leave Frank out of this,” Sally said.

Audrey smirked. Oh, how Sally hated that smirk. Since they were kids, that smirk had always driven Sally crazy.

You get the idea. While writing with emotion is part of the art of the storyteller, choosing how and when is the essence of that art. Instead of allowing us to flow with the inherent conflict in the dialogue, we’re given way too much interior life here. That dilutes the overall effect. This scene ought to look more like this:

“I don’t know what you mean,” Audrey said.

“Do I have to spell it out for you?” Sally said.

“Maybe you’re talking about Frank.”

“I think we should leave Frank out of this.”

Audrey smirked. Oh, how Sally hated that smirk.

There are times when you do want to emphasize what’s going on inside a character. Times when you want to “go big” for dramatic effect. And you should. I have a suggestion for you: overwrite those emotional moments the first time around. Go for it. Come back the next day and edit it a bit. When you go over your first draft, edit some more. Get feedback from a crit partner or trusted friend on those pages.

Keep what works and trim the rest. You’ll eventually feel the right balance.

It pleases me greatly to write darlings. So I don’t immediately plot their demise. I let them sit, I look at them again, I have my wife render an opinion, and then I decide if they must go. They get a fair trial. And sometimes they are set free!

Case dismissed.

So how do you treat your darlings?

Killzoneblog.com

Tag Archives: Raymond Chandler

The Eyes Have It

Squeeze More Conflict Out of Your Settings

Writing Hardboiled Fiction

Who is on Your Writing Rushmore?

On Using Humor in Fiction

The Terrible Task of Weeding Out Books

The Vision on the Stairway

Thrillers Bring the Light

Escapism Rocks!

Don’t Kill Your Darlings—Give Them a Fair Trial!