One of the challenges of being a writer is keeping your work fresh and new and interesting; it becomes easy -for want of a better phrase–to just phone it in and repeat yourself. This is particularly true for crime writers/writers of series; how do you continue writing about the same base foundation of characters without recycling plots or falling into formulaic structure?
One of the primary reasons I stopped writing my Chanse MacLeod series was precisely because of this; as I was writing the last book (thus far) in the series, Murder in the Arts District, I found myself thinking things like okay now it’s chapter five, I need some action here or I need to have a twist in the story before I get to chapter ten…and so on. I didn’t even think about it as I was writing the story–but when I was doing the revisions and edits, I remembered having those thoughts (I generally don’t have them while writing Scotty, but that’s a story for another time…and of course, as a reader pointed out, how many car accidents has Scotty been in, anyway?), and when I turned the book in, I went back and speed-read the entire series over again, and after about the fourth book, the writing pattern became rather obvious to me; and if it was apparent to me, I would imagine it was also fairly obvious to the readers. So, I decided to either end or take a lengthy break from the series unless another great idea for him jumped out at me; I have had several ideas since then, but the longer I go without writing about Chanse the less likely it becomes that I will write about him again. (Caveat: I have written a Chanse short story and have a novella in progress with him as the main character; I guess it is more accurate to say that I am not done with the character completely, yet I cannot see myself writing another novel with him as the point of view character–and will have to go another step forward with that as well to say at least not one set in New Orleans, as I am toying with an idea for a Chanse case in Louisiana but not New Orleans. Yes, that’s me–definitely not definite.)
I have nothing but the utmost admiration for series writers who manage to keep their series going for decades and dozens of books without writing the same book and structure over and over and over again; Ross Macdonald, Ellery Queen, Sue Grafton, Robert B. Parker, and Sara Parestky are just a few of them I can name, and their achievements have made them legends in the field. But other legends who wrote series took a different approach to their careers. Agatha Christie wrote several series–Poirot, Miss Marple, Tommy and Tuppence–but also wrote a lot of stand-alones over the course of the years. (Seriously, when it comes to crime fiction, Christie did everything first) Dennis Lehane and Harlan Coben started out writing series and moved on to stand-alones; as have numerous other authors.
And then there’s Laura Lippman.
Gerry Andersen‘s new apartment is a topsy-turvy affair–living area on the second floor, bedrooms below. The brochure–it is the kind of apartment that had its own brochure when it went on the market in 2018–boasted of 360-degree views, but that was pure hype. PH 2502 is the middle unit between two other duplex penthouses, one owned by a sheikh, the other by an Olympic swimmer. The three two-story apartments share a common area, a most uncommon common area to be sure, a hallway with a distressed concrete floor, available only to those who have the key that allows one to press PH on the elevator. But not even the sheik and the swimmer have 360-degree views. Nothing means anything anymore, Gerry has decided. No one uses words correctly and if you call them on it, they claim that words are fungible, that it’s oppressive and prissy not to let words mean whatever the speaker wishes them to mean.
Take the name of this building, the Vue at Locust Point. What is a vue? And isn’t the view what one sees from the building, not the building itself? The Vue is the view for people on the other side of the harbor, where, Gerry is told, there is a $12 million apartment on top of the residences connected to the Four Seasons Hotel. A $12 million apartment in Baltimore.
Nothing makes sense anymore.
The apartment cost $1.75 million, which Is about what Gerry cleared when he sold his place in New York City, a two-bedroom he bought in the fall of 2001. How real estate agents had shaken their sleek blond heads over his old-fashioned kitchen, his bidet-less bathrooms, as if his decision not to update them was indicative of a great moral failing. Yet his apartment sold for almost $3 million last fall and, as he understood the current was laws, he needed to put the capital gains, less $250,000, in a new residence. Money goes a long way in Baltimore, and it was a struggle to find a place that could eat up all that capital without being nightmarishly large. So here he is at the Vue, where money seems to be equated with cold, hard things–marble in the kitchen, distressed concrete floors, enormous light fixtures.
I’ve been a fan of Lippman’s since I read her debut, Baltimore Blues, mumbledy-mumble years ago. I absolutely loved it; I loved the character of Tess Monaghan, former reporter turned private eye, and the cast of regular characters who she interacted with on a regular basis throughout her amazing series run. Tess remains one of my all -time favorite series characters; the books were always compelling, interesting, and very hard to put down. Lippman is also that writer who can write short stories that are just as powerful as her novels, and over the last few years she has taken up writing personal essays that are also rather exceptional (her collection, My Life as a Villainess, was a bestseller during the pandemic). Her writing is always whip-smart and intelligent; following her on social media one can see how widely and perceptively she reads. About seven years into her career she took the risk to move from her series to stand-alones; a calculated risk, to be sure–but she then spent the next few years alternating between the series and stand-alones (alas, it’s been a while since the last Tess book, Hush Hush, although she has occasionally made guest appearances in her stand-alones when a character needs assistance from a private eye). Her books have explored themes of motherhood, what it means to be a good girl, and have also paid homage to time-honored sub-genres (Sunburn is one of the best noir novels of this century) and classic novels by either flipping the script (for example. Wilde Lake owes an enormous debt to To Kill a Mockingbird, imagining, really, where the characters and story would be decades later). She has also played with form, tense, and character–Lady in the Lake is almost Faulknerian in its use of point-of-view; I lost track of how many different point of view characters were in this book, and every last one of them rang completely true–and she has become, over the years, a true artist.
In my often-benighted first writing class in college (whose scars I still carry to this day),my incredibly pompous professor once berated one of the students for writing a story about a writer. “It’s the laziest form of writing, and character,” he proclaimed from his lectern at the front of the classroom, “and it tells you more about who the writer is more than the character ever will. If you ever start reading anything where the main character is a writer, you should run from it as fast as you can.”
I guess he wasn’t a fan of Philip Roth. (To be completely fair, neither am I. I’ve tried, but have never really got the magic there, but have always accepted that as my failing as a discerning reader rather than his.)
Stephen King often writes about writers; ‘Salem’s Lot has Ben Mears; The Shining has Jack Torrance (and the most deadly and horrifying case of writer’s block in literary history), It has Bill Denbrough, and on and on–but of course the most famous, and best, example would be Paul Sheldon in Misery. While I always have enjoyed King’s writing, and have gleaned things from his writer characters, Sheldon and Misery, for me, has always been the best. Sheldon was perhaps one of the most realistic and compelling writer characters I’ve ever read about–the man with aspirations to becoming a critically acclaimed literary writer, who yet makes a living by writing a bestselling romance series about a character named Misery Chastain whom he has come to hate and despise even as she makes him enough money to live well and focus on simply being a writer (the dream of all of us, really). He has killed her off finally in his most recent book, ending the series at last and finally taking the leap to write what he thinks will be the game changer for his career–until he has a horrific car accident and is rescued by Misery’s biggest fan.
The parallels between Misery and Dream Girl are there, of course, and easy to spot; Lippman’s character Gerry Andersen is an enormously successful literary writer (a la Updike or Roth) who is also kind of a dick in how he has treated the many women who have come through his life, and of course, his ego justifies all of his bad behavior until he, too, has an accident in his home that winds up with him trapped in a hospital bed in his secluded apartment (despite it being in Baltimore; the appeal of the place is its privacy and seclusion). But while Sheldon is being victimized by his sociopathic fan/caregiver in Misery, what is happening to Gerry is very different; he has his original fall that causes his injury because he receives a weird letter from someone claiming to be the real person whom he based the title character in his biggest success, Dream Girl, on, and she wants financial compensation. In his shock and surprise–people have always wondered, and have always asked him, if she was a real person and he has always said no–he falls down his stairs and busts up his leg. Once he is housebound, he has a night nurse AND his personal assistant there–rarely being ever alone in the apartment–but he starts getting strange phone calls from the woman claiming to be the real ‘dream girl’–but there’s never any record of the calls on his called ID, and the original letter disappeared as well. Is his medication playing tricks on his mind, or is there something more sinister at work in his cold, sterile, remote apartment?
As with so many other things, that writing professor was wrong about writing about writers. I’ve stayed away from it myself for most of my career–as I said, the scars are still very much there–but I have started dabbling into it a bit (my Amazon single, “Quiet Desperation,” is one attempt, and I may go even further; I’ve created a character who’s appeared as a minor character in some of my Scotty books who is a writer). The mystery here is quite compelling, and more than enough to keep me turning the pages to see what happens next. But I was also enjoying the insights into another writer’s life, albeit he was a fictional character; I find it incredibly easy to identify with characters who are writers because despite the fact that all writers have different methods and different careers and different mental processes, there are always those little nuggets of oh yes I know that feeling or I thought I was the only person who experienced this or ah yes this is exactly what it’s like.
Dream Girl is an excellent edition to the Lippman canon.
I used to be obsessed with Hollywood when I was younger.
That should have been the tip-off to my family, right? My obsession with old films, the Oscars, and superstar actresses of the past? I lived for awards season; read tons of books about Hollywood history and the making of movies and biographies/memoirs of stars; I read People and Us magazines (Us was a biweekly years ago). I wrote about movie stars in Murder in the Rue Ursulines, and my first Phyllis A. Whitney novel that wasn’t a y/a that I read, about a haunted Hollywood legend (Listen for the Whisperer) remains my favorite of hers to this day. I’m not sure when I stopped being interested in celebrities and gossip about them, and the entertainment industry; but while the interest has somewhat waned (I often skip the Oscars now), I do still enjoy reading fiction set in or around the industry.
So, it’s strange that it took me so long–and that it also took the Diversity Project–for me to finally sit down with Kellye Garrett’s terrific debut novel, Hollywood Homicide.
He stared at my resume like it was an SAT question. One of the hard ones where you just bubbled in C and kept it moving. After a minute–I counted, since there was nothing else to do–he finally looked up and smiled. “So, Dayna Anderson…”
He got my name right. The interview was off to a pretty good start. “So what in your previous experience would make you a good fit for this position?”
He smiled again, this time readjusting the Joey, Manager, Ask me about our large jugs! name tage that was prominently placed on his uniform. Since I was sitting in the Twin Peaks coffee shop interviewing to be a bikini barista, said uniform happened to be a Speedo. I pegged him for twenty-two, tops. And it wasn’t just because he didn’t have a centimeter of hair anywhere on his body. I made a mental note to get the name of his waxer.
And so opens Kellye Garrett’s terrific debut novel, which I hope is the first of a long series I will be able to continue to enjoy over the years (the second, Hollywood Ending, was published last year before the publisher, Midnight Ink, announced that it was shutting down, thus orphaning many a terrific crime writer: SOMEONE ELSE NEEDS TO PICK UP THIS SERIES).
Dayna, our main character, is a retired actress with no source of income and running out of cash pretty darned quick. To compound her financial problems (spoiler: she doesn’t get the bikini barista job) her parents are underwater on their house payments and she needs to come up some cash to prevent them from being evicted. One night while out on the town with friends they are almost hit by another car…and as they continue driving, find out that someone has been killed by a hit-and-run driver. As the financial woes continue to compound, Dayna decides to solve the crime in order to win the offered reward and bail her parents out.
Far-fetched? Maybe. But it’s not the worst premise for an investigation for the first book in a series where the main character is not a professional investigator (cop, PI, reporter, lawyer), and it’s actually much more of a clever take than the standard trope of “stumbling over a dead body/I have to solve this crime because everyone thinks I’m the killer,” which most authors use* (holds up hand–GUILTY AS CHARGED).
And the supporting cast is as interesting and fun as Dayna herself; we don’t get a lot of background on any of them, really–Garrett is guilty of playing her cards close to her vest, as it were–which gives her the opportunity to delve into them all more deeply in the future volumes I hope are coming for us all. The plot twists and turns and winds up very very far from the hit-and-run accident the book opens with…and every step of the way I was rooting for Dayna. She’s likable, has a great sense of humor (not only is she funny but she also has a sense of humor about herself, and about Hollywood as well), and then there’s that love interest–a friend from back home who is just now breaking big on television.
SO MUCH FUN.
COnstant Reader, get thee hither to the book merchant with credit or debit card in hand.
*This isn’t a bad thing, by the way–most authors who do use this trope are incredibly creative and smart in how they use it; the point I am making is I greatly appreciated the originality of Kellye’s methodology of getting her amateur sleuth involved.
My vacation is over, and while I do regret that–a stay-at-home vacation gives you a taste of how my life could be; just doing errands and chores around the house and of course, writing without interruption, without an eye on the clock knowing I only have so much time to get so much done; the leisure to take my time on projects and not feel rushed, to not feel like I’m not doing the best I can because the clock is ticking and there are other things I have to do…
It’s kind of nice, although it makes me kind of sad to have to go back to the clock-watching and time-scheduling,
I did finish reading Elizabeth Little’s superb Dear Daughter last night.
As soon as they processed my release, Noah and I hit the ground running. A change of clothes. A wig. An inconspicuous sedan. We doubled back once, twice, then drove south when we were headed east. In San Francisco we had a girl who looked like me board a plane to Hawaii.
Oh, I thought I was so clever.
But you probably already know that I’m not.
I mean, come on, you didn’t really think I was just going to disappear, did you? That I would skulk off and live in the shadows? That maybe I would find a distant land, a plastic surgeon, a ceramic half mask and a Punjab lasso? Get real.
But I never meant for it to come to this. There’s attention and then there’s attention, and sure, the latter gets you fame and money and free designer shoes, but I’m not Lindsay Lohan. I understand the concept of declining marginal returns. It was the not knowing–that’s what I couldn’t stand. That’s why I’m here.
It’s hard, really, to believe that Dear Daughter is a debut novel; Little writes with the punch and skill of a much more experienced writer. The main character’s voice is exceptional, strong, and even though she can read as vastly unsympathetic, she is always compelling.
A technicality has overturned Jane Jenkins’ murder conviction; when she was seventeen she was tried as an adult for murdering her socialite mother, with whom she had a rather combative relationship. Jane herself was what is called a ‘celebutante’, like Paris Hilton and others before her, famous really for being famous. (Imagine the circus a Paris Hilton murder trial would have been…) Now that she’s free, Jane wants to prove her innocence (she really doesn’t remember if she actually killer her mother or not) so, with the help of a trusted attorney, she takes on a false identity and disappears; even lying to the lawyer about where she is going. The night of her mother’s murder she heard her mother arguing with a man, and the only words she caught were ‘Tessa’ and ‘Adeline’; she has found a remote town in South Dakota named Adeline, and that’s where she is heading.
The twists and turns and surprises come fast in this novel, and once it kicks into high gear there’s no stopping. Jane herself is a strong, full-fledged character; smart yet vulnerable, lonely, yet the loneliness makes her stronger. She tries to sort out the complicated relationship she had with her mother while trying to find out the truth, not only about her mother’s murder but her mother’s past, as well as her own…very compelling reading.
And the writing itself is quite extraordinary, as well.
I highly recommend this! And can’t wait for her next novel.