writing in balance

When I was young, I was really into the mystery novels of Ellery Queen. There was one book in particular that always stuck in my mind. In it, a famous novelist was murdered, and the detectives discovered a locked room in her house, adjoining the room where she wrote. Another woman had lived in that room, in secret, apparently as a prisoner, and she had actually written the books which had made the novelist rich and famous.

This setup stayed in my mind for years (decades, really), but I didn’t know the title of the book. I didn’t remember anything else about it, and I wasn’t even 100% sure that it had been written by Ellery Queen. In the pre-web days, it was a lot harder to find out the answers to these sort of questions, and in any case Ellery Queen books are not much talked about these days (and there are a lot of them – quite a few of the later ones ghostwritten – and most of them are usually out of print).

But then I found it, I think from a summary on Amazon. It’s called The Door Between. I immediately bought it and read it, of course, and I quickly realized two things.

One was that I had remembered those few details accurately. The other was that it was badly written.

The early Queen novels were pretty classicly cerebral, but this one appears to reflect a desire to be more muscular. All the male characters seem to yell all the time, and mostly they seem to be about to punch each other. There’s a hard-boiled detective character who’s a pileup of cliches. He’s apparently there as a foil and contrast to Ellery Queen, who’s so unmuscular that he’s still wearing his pince-nez glasses (they would be done away with soon after).

There are some cringe-worthy Asian stereotypes, too (both Japanese and Chinese). And I don’t accept the argument that this is just a reflection of the times (the book was written in 1936), since the Philo Vance books – which were earlier and which were a big influence on the Queen books – are almost completely free of this sort of thing. In fact, Vance often earns the scorn of the official police by treating people of other races, including servants, the same way he treats white people.

The main character in The Door Between, a teenage girl, spends most of the early pages being unaccountably grumpy (after an early life which is reported as being entirely sunny). Then she realizes that she Needs To Be Marrried. She pursues and catches a fiance (this whole part of the book is pretty painful), and then she spends the rest of the book being accused of murder, repeatedly. She reacts to each accusation by weeping, usually clutching the lapels of some man’s jacket, and feebly protesting her innocence. All the man around her seem to fall in love with her, for no apparent reason, even to the point of fiddling with the evidence to keep her from being accused again. Which never works, of course.

But, that being said, the story is great. The cental premise (the prisoner who actually writes the books) is powerful and plausible. The solutions are clever and well set up (it was a standard trope in Queen books that there would be a series of solutions revealed, each one completely airtight but each one then exploded by new evidence being discovered). And the book ends as some of the Queen books from this period did, with a public reveal of the “solution,” and then a scene where Ellery confronts the actual murderer with the final explanation, which will never be made public.

This was the great theme in the middle-period Queen books, that revealing the truth behind a murder can often cause more harm than good. Quite a few of the books in these years explored different aspects of this idea. I haven’t really used this yet in the Jan Sleet mystery stories, but I’m sure I will. I’m quite influenced by Ellery Queen, as I’ve talked about here and here and here.

But there’s a reason I’m writing about this here, which is that, as I re-read The Door Between now, I wonder how’d react if I was reading it for the first time now. I’m a lot more discriminating than I was when I was a kid, after all. Would I stick it out, getting past the bad writing, to find how how good the story was? Maybe not.

I was thinking about that when reading an indie novel recently. Within a few paragraphs, two words were used incorrectly, one sentence was very badly constructed, and one word was misspelled. I was tempted to chuck it. No matter how good your story is, if people get turned off by your words and your sentences, they may not finish your book, and in any case they’re much less likely to buy your next one.

As we’ve talked about before, here and elswhere, indie books don’t get the benefit of the doubt. So, my point is that indie writers need to be sure everything is correct, particularly things which really only require a dictionary.

“Ellery Queen” was actually two men. One did the plots and the other wrote the words. With The Door Between, one was firing on all cylinders and one wasn’t. For those of us who do both (which is most writers, of course), we need to be sure our words live up to our ideas (and vice versa – I’ve read blogs for example where every word is used perfectly and every sentence is a thing of beauty, but the writer has absolutely nothing to say).

Anyway, there’s my point. The Door Between has given me a lot of pleasure, but only because I read it for the first time when I was very young. Otherwise, I would have missed out on all it had to offer me.

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5 Responses to writing in balance

  1. Pingback: Monday’s Top 5 | The Happy Logophile

  2. sonje says:

    I often think about albums the way you’re talking about this book. When I was growing up, cassettes were the thing, and it was a pain in the ass to skip from one song to another. Mix tapes were also an exercise in patience and required about double the length of the completed tape to make. In other words, it was easiest just to listen to the whole album. Nowadays, the *only* whole albums that I will listen to are the ones I first got on tape and listened to the songs again and again until I grew to love them all. (It’s also quite probable that being young and less discriminating had something to do with it.)

    CDs eroded this, as skipping from song to song was much easier, but (initially) making mix CDs was prohibitively expensive and who wanted to dick around with cassettes now that there were CDs. But the death blow to my ability to grow to love an entire album was definitely the mp3 player. Not only is skipping through songs in an album very easy, but making a playlist takes seconds, and who even needs to buy an album anymore? Just buy the song you like and be done with it (although I still predominately buy albums).

    But I miss buying an entire album and growing to love it, giving the “lesser” songs the time to find a place in my heart.

    Yeah, I know none of this was really the point of your post, but all of the above just jumped out and overwhelmed me, so this is my comment!

  3. This is so true. I recently read an Indie book, and well – I had to put it down. I couldn’t get past the point of view switches, the sentences that didn’t flow and the overall style of the writer which made me feel bad because I was supposed to do a review of it. But what I did instead was email the author and give her a list of helpful tips for her next book.

    I think her book had good potential, she just didn’t execute herself and words well.

    I know Piercing Through the Darkness wasn’t completely devoid of mistakes. I hurried to get it out which was a mistake in itself. Luckily, being an indie and having control over publishing I can go back and fix it, but a fellow author and friend told my WLC group, you have one chance to get it right and you can’t blow your name from the very beginning. It’s very true.

    Now, I have some amazing betas and a great editor to help me with Read Me Dead.

    Okay, point being, what you have said is so very true. 🙂

  4. Thanks for the comments.

    Sonje, I think you’re onto something. Not that these are the same thing. but I think they’re related. Unfortunately I have a cold and my head is telling me I should go back to bed, so I’ll try to explain my point when I’m more coherent. (Assuming I can remember what it was by that point 🙂 ).

  5. Sonje, to follow up (now that I’m somewhat recovered), I think your point is sort of the “macro” version of mine. I was talking about how patient I was as a young reader, and how relatively impatient I am now.

    I saw a music critic at a record store once. He said, “play me what’s new,” and the person behind the counter brought out the new singles and played them one at a time. Most of them, the critic listed to a few beats and then said to move on to the next one.

    I think cultures are that way, too. As a culture, we have more and more control over our entertainment, and less and less patience. There was many reasons cited for most people no longer watching movies in movie theaters (cost, convenience, etc.), but one big factor is control. In a theater, you give up control. At home, you can pause, or mute, or skip to something else, or replay something you missed. (And even in theaters, people can’t get through a picture without tweeting or sending text messages.)

    This is why serial fiction is appealing to some people. It’s a way of taking back that control. I talked about that here: http://u-town.com/collins/?p=94

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