Spillane’s Assault and Insult On Why We Read

Mickey Spillane, famous for creating Mike Hammer, wrote hard boiled, tough, sexy  crime novels. The stories were short, packed a violent punch, and were big sellers, popular with men, but not with the critics or the literary world. Spillane didn’t care. Like Hammer, Spillane was a tough guy too.

What he wrote on the first page of his novel My Gun is Quick caught my attention. It is something we readers and movie goers know, but ignore, pushing it to the back of our minds. But Spillane confronts us with the following:

“You pick up a book and read about things and stuff, getting a vicarious kick from people and events that never happened. You’re doing it now, getting ready to fill in a normal life with the details of someone else’s experiences. Fun isn’t it? You read about life on the outside thinking of how maybe you’d like it to happen to you, or at least how you’d like to watch it. Even the old Romans did it, spiced their life with action when they sat in the coliseum and watched wild animals rip a bunch of humans apart, reveling in the night of blood and terror. They screamed for joy and slapped each other on the back when murderous claws tore into the live flesh of slaves and cheered when the kill was made. Oh, it’s great to watch, all right. Life through a keyhole. But day after day goes by and nothing like that ever happens to you so you think that it’s all in books and not in reality at all and that’s that. Still good reading though. Tomorrow night you’ll find another book, forgetting what was in the last one and live some more in your imagination.”

Spillane is right of course, but what struck me, and it may not have been his intent, is that it seems an answer to his critics, a defiant explanation of why people read and that he is writing for what his readers want, that being action, plenty of it, and a dame of course, nothing serious, just another vicarious experience. Mike Hammer will get involved with some tough guys, get in brawling fights, but we never will. Hammer will help out some blonde, the type we will never meet. But we will live through it in our imagination.

But there is something else going on in the quoted passage. “Life through a keyhole,” is  a punch in our face, like a blow from Hammer, telling us we have a dull life. Therefore we get ready to “fill in a normal life. . .someone else’s experiences. . .you’d like it to happen to you. . . nothing like that happens to you. . .”

Spillane manages to tell us why we read and insult us at the same time. I like that in a tough guy. We need not take it personally. Howard Cosell said, “I tell it like it is.” So does Spillane. I read a book or two of his years ago, so long ago I remember nothing of what I read. But I picked up a used book that contained three of his memorable novels, I the Jury, My Gun is Quick, and Vengeance is mine. So the stories are there for when I need a vicarious thrill. And I will read someone else’s adventure and be happy.

reader

 

 

 

TWO WEEKS UNTIL I . . .

Yesterday, Tuesday the 17th of July, I did it. I submitted, per guidelines of the publisher, my query letter and first two chapters of my next book, Blood Will Have Blood. 

On their website it says if they are interested they will contact you within two weeks. So two weeks until I know if they are interested or not.

I will be happy either way. If they reject-and the odds are they will-I can publish the e-mystery on Amazon where my other books are. But it would be nice if they said “We want to read the final two chapters.” It would mean getting more feedback during the process of getting into ink print, rather than digital print.

I have had rejections from agents and publisher with other submissions, so rejection is not a problem. It happens to all of us. But every time you try, you have hope and now I have hope for two weeks.

But I will not be idle. I am making progress on my next mystery by researching painting styles and what artists may have been doing in the mid 1920’s, writing character profiles, expanding and editing the first chapter, and determining how many characters I should have, not wanting the reader to juggle too many. I also have short stories to write for another collection.

So I will not be staring at the phone waiting for the call, nor checking my inbox to see if they will use email to contact me. On the other hand, though it has been less than 24 hours since I submitted, I think they should have contacted me by now. After all, those were really good chapters. Can’t imagine what the hold up is.

Getting back to reality, I found the publisher through a free subscription to Authors publish Magazine. They provide lots of information on publishers, markets for all types of writing, and free downloads of information. It is a good place to get leads of who is accepting submissions, whether in print or online. I get no kickbacks for telling you about them, no hidden agenda. Just pointing to something that can provide help for  writers.

And now back to working on my next book-whether in ink or digital format.

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A WRITERS CIRCLE OF GUILT

As I write this sentence I feel guilty because I should be working on my next novel, creating character profiles and expanding chapter one.

But I know if I shift to that project I will feel guilty because I should be researching events of spring 1928 that occurred in and around Hood Canal as well as Washington State, and America as well.

But if I shift to researching I will feel guilty as I must edit two chapters before sending to a prospective publisher, rewrite my query letter, and sent my email to them.

But if I do that I will feel guilty as I should do more social media, blogging, tweeting, liking your blogs, uploading new photos to Instagram, going to Pinterest, as well as other undiscovered sites where I can increase my guilt.

But if I to that I will feel guilt for not pulling weeds. If I put on my gardening gloves, grab my clippers and pullers, I will feel guilt before I hit the backyard because I hate pulling weeds.

Sometimes guilt is welcome. See above paragraph. So I put down my tools, pull off my gloves, happy to feel guilt (for once) and start the process all over again. As I write this I am currently in the social media phase. It is going to be in the 90’s today so the weeds can flourish.

That means skipping weed pulling to work on my next novel. But this is Sunday and I only do that Monday thru Friday. So that is out until tomorrow. I could research, but I must send that email to a prospective publisher, so more important to edit the two chapters and query letter.

Or, since it will be in the 90’s I could head to the beach where I can feel guilty about everything. That is a plan. A writer’s life is not easy.

put down the book

 

WINNIE THE POOH’S 6 RULES FOR WRITING MYSTERIES

Full disclosure, the six rules of writing mysteries were set forth by A.A. Milne, who wrote Winnie the Pooh, but Milne does speak for Winnie, so there.

Milne also wrote a delightful mystery The Red House Mystery, that he dedicated to his father who was a big fan of mysteries.

So the six rules:

  1. The story should be written in good English

I thought that would be a given. After all, if you write bad English, you write a bad novel. So writing in good English should be obvious. I think this rule came from Winnie and Milne used to make Winnie happy.

2.  Love interest is undesirable.

Raymond Chandler also said the same thing. Of course there was Nick and Nora Charles, but being married their love is implicit. They sparred with wit and charm, with Nora being Watson to Nick’s Sherlock, although she was smarter than Watson.

Chandler, by the way, thought little of Milne’s mystery. He also trashed Agatha Christie, Dorothy L. Sayers and virtually all British mystery novelists in the Golden Age of British mysteries, between the two world wars. Chandler was about realism, especially the writings of Dashiell Hammett. But Chandler missed elements of Red House Mystery, those being social satire, with a stab at comedy of manners. It is very witty with sharp dialogue.

3.  Both detective and villain should be amateurs.

Since the early 1920’s, when Milne was writing these rules, police procedural mysteries  have become a sub genre of their own. There were a few back then, but the genre has grown to the point that this rule does not apply. It is a matter of taste and preference and I prefer the amateur.

4.  Scientific detection is ‘too easy’.

I am not sure what Milne meant with this rule. But obviously nearly a century has passed and science is much bigger now in detecting clues and evidence. British mysteries in the golden age were more about puzzles, and figuring out who did it. Milne may have implied that the amateur detective should rely on getting clues, piecing them together to solve the puzzle.

5.   The reader must know as much as the detective.

This rule should apply to all mysteries of any era. The reader should have access to the information, not only to see if he can solve the murder before the end, but more important, not to trick the reader. You can not add information at the end when the killer is revealed that comes as a surprise to the reader. That is not playing fair and it pisses off the reader who has invested his time in the story.

6. There should be a Watson: it is better for the detective to Watsonize’ than soliloquize.

This is elementary. One could have a detective working alone and he can share his thoughts through the first person, such as “When I saw the gun on the floor it was too far away for it to be suicide, but then why was the gun ten feet away, perhaps because . . .”  In essence the reader could be the Watson. In my mysteries I use Chet and Eveleen, a married couple, who along with their flapper friend Clancy solve mysteries. I do this because I enjoy their interplay.

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