John M. Daniel, my guest blogger on Day 13 of The Murder We Write Blog Tour, was born in Minnesota, raised in Texas, and educated in Massachusetts and California. He was a Wallace Stegner Fellow in Creative Writing at Stanford University and a Writer in Residence at Wilbur Hot Springs. He has taught fiction writing at UCLA Extension and Santa Barbara Adult Education and was on the faculty of the Santa Barbara Writers Conference for nearly twenty years. He now teaches creative writing for Humboldt State University Extended Education. John’s stories have appeared in dozens of literary magazines. His thirteen published books include four mysteries: Play Melancholy Baby, The Poet’s Funeral, Vanity Fire, and Behind the Redwood Door, recently published by Oak Tree Press. Visit John’s website at www.johnmdaniel.com
Ron is certainly on target when he says the primary function of mystery fiction is to entertain. That’s why the characters are quirky, why the plots are fast and surprising, and why the whole premise is often a puzzle pitting the wits of the reader against those of the writer. Sheer entertainment is why we keep turning those pages, why we sometimes laugh out loud, and why our response to the story is, over and over again: “Aha!”
It’s why, once we’re seduced into an author’s tangled fictional world, we read avidly till we turn the last page and sadly close the book. And then what do we do? We find out what else the author wrote, and we takes steps (let’s hope it’s steps to our local independent bookseller) to pick up another book by the same author. Why? Because we’re fans. And why are we fans? Because that author’s so damned entertaining.
Reading mysteries is fun, and I believe the most enjoyable mysteries are those where we can tell, we can be certain, dead sure, that the author was having just as good a time writing the tale as we’re having reading it. I never met Carl Hiaasen or Elmore Leonard, but I’ll bet my tin whistle those two scribes grin like sailors at a hootchie kootchie show while their fingers dance over the keyboard and their words pop up before them on the screen.
Now let me pause for a minute and get back to Ron’s original premise: that the mystery novel’s number-one function is to entertain readers. Yes, that’s so. But I also add a close second. I maintain that every fiction writer, and perhaps especially every mystery writer, has a moral lesson to sell. We write to make this planet a better place for humans and other fellow earthlings to live.
Does this sound outrageously highfalutin? Well think about it: isn’t the basic premise of all crime fiction: “Crime should not pay”? Sometimes the bad guys win, but readers pity the victim and root for the hero, and although they may be amused by the villain, we love most of all to see that scoundrel get his or her comeuppance.
I believe most writers of crime fiction — and I bet this includes Ron and Janet Benrey — want to preach at least a little bit about right and wrong. But any writer knows that no reader’s going to sit still and listen to a sermon, especially if there’s anything good on TV. So what do the writers of mystery do? They wrap their message into a gift of entertainment. It wins the audience over every time.
What makes a novel entertaining? I’ve already mentioned the quirky characters, the surprising plot, and the challenge of whodunit. But what works best of all for me—what keeps me reading, and also what keeps me tapping the keyboard when I’m in the zone—is style.
Style is what makes Elmore Leonard such a wizard at dialogue. That guy has an ear for ethnic speech patterns and oddball phraseology. And his patches (sometimes pages) of conversation crackle with humor, personality, and plot. By the end of every conversation, something important has changed. We can’t wait to read more, because that dialogue has been so engaging, so clear, so entertaining.
Take Carl Hiaasen. That guy gets every scene, and every chapter, off and running from word one, builds to a surprising climax, and leaves us with a piece of action or dialogue that downright forces us to turn the page.
For me the essence of style is language. Each writer has his or her own style. That’s what gives wings to our words, what makes writing the infectious fun it is. “No other writer would use these words in just this way,” the writer rejoices. “That’s my voice.”
That’s how I feel about my writing, and I hope it shows in my books. I write mysteries in the first person voice, so I have the advantage of a well-spoken, wise-cracking protagonist named Guy Mallon. His language is ironic and surprising, with a touch of the noir. He knows how to tell a tale, and I confess I’ve learned a lot from Guy.
I think you’ll enjoy meeting Guy Mallon, and I invite you to make his acquaintance in his newest adventure, Behind the Redwood Door, a mystery set on California’s north coast, a land of rocky shores and tall redwood trees. If I’ve done my job right, by the time you finish Chapter One, you’ll be so entertained that you’ll race into Chapter Two, and on and on until I’ve sold you the whole package, including the lesson that crime should not pay.
Behind the Redwood Door is sold by Amazon and Barnes & Noble. It can be ordered by your local independent bookseller, or bought directly from the publisher at www.oaktreebooks.com. For an autographed copy, call John at 1-800-662-8351.