Labor Day Monday and I have a nice relaxing day ahead of me of writing and reading and who knows what else? We also leave for Minneapolis the day after tomorrow, which is also kind of exciting. I did make a small run to make groceries yesterday and had a small Costco order delivered. I also watched some tennis (Coco Grauff) and then we watched the LSU Game. Jury’s still out; they played very lackadaisically to me, it seemed; not quite gelled as a team yet, but lots of talented players with some kinks to work out yet. They ended up losing 24-23, could have tied and/or won the game at the end, and rallied from 24-10 down in the closing minutes, so that was promising. I am of course disappointed the comeback failed, but at one point it literally looked like we were going to lose 31-17, and that final drive went ninety-nine yards in sixty-five seconds. So, they could continue to improve and get better, which is a good sign. I impatiently was hoping this could be turned around in one year, but….it even took Saban an off-year before turning Alabama into what it is today. It was a fun weekend of football, to be sure, and I am always happier when it’s football season.
I mean, take away the two fumbled punts, the blocked extra point, and the blocked field goal, and LSU would be 1-0 right now.
I am curious to see how the rest of the season shakes out.
I skim-reread Jackson Square Jazz yesterday, and again, I was very pleasantly surprised at how well the book still reads, roughly nineteen years after release, and again–I really did do a great job with the characters. I am writing an entry about it, of course, and then started skim-rereading Mardi Gras Mambo, too. I really wish I could remember what the plot was in the first two failed attempts to write the book, but maybe it’ll come to me while I skim reread, but I rather doubt it; I forgot those original plots years ago. I am glad that reader asked me about the Scotty books, though. I had figured I’d talked about them often enough that Constant Reader didn’t really need me to write the backstories behind the books in this series, but I am having the most wonderful time revisiting the books and remembering the process that produced each one. And these first three are so far back in my distant past that it’s almost like reading new-to-me books; I always wondered if my own work would ever get to that point, and clearly, they have done so. I’m not sure how to feel about it, but I imagine Philip Roth didn’t spend a lot of time thinking about his first couple of books, nor did Agatha Christie, Ellery Queen, or Erle Stanley Gardner. (Not that I put myself up there with those greats of crime fiction, but you know what I mean.) We write books and we move on from them to write other books, and the farther in the past those old titles get, the more distance I feel from them and the less I remember about them, which makes them much easier to read (at least for me).
And it’s really helping me get back inside Scotty’s brain and his voice, too. Always a bonus, you know?
Today I am going to take it easy but still get things done. I need to write–which I’ve done woefully little of this weekend–and I also need to overhaul the first three chapters of this book before I can move on with it, which should be taken care of today. (I started to do it yesterday but…Coco Grauff was playing!) I also have some other things to get done today–maybe I should make a list of what all I want to get done today; can’t hurt–including making my packing list for the trip (I checked the weather; I think I can get away with taking a sweat jacket with me rather than a coat; every night it’s supposed to dip into the 60’s, which, as we all know, is the dead of winter to me) and some other loose odds and ends. And the skim-rereading of my books is at least getting me to read again–just wait till Wednesday afternoon at the airport though; I’ll be tearing through that Gabino Iglesias novel like it’s going out of style. I don’t think I’ll finish reading the Iglesias, the King, and the Andrews on the trip, but I am taking a book in reserve just in case–A Walk on the Wild Side by Nelson Algren. I also need to prep myself for reading only horror in October, the way I do every year; I know there are some Paul Tremblay and Stephen King and Christopher Golden and some other great horror novels sitting there waiting in my TBR Piles. There’s also some great short stories I should read, too. I am sitting on a Daphne du Maurier novella–“A Border-line Case”–and maybe I should spend some time today reading that?
I do love me some du Maurier (reminder to self: reread My Cousin Rachel).
So, we’re basically sitting on today and tomorrow as interim days. I think the house is in good enough shape as is for us to leave without doing some more cleaning, but I always do some cleaning while I am writing. There’s a load of dishes that need doing, and some other picking up and things needing to be put away, but that’s always the case, isn’t it?
And on that note, I am going to make a to-do list, finish those dishes, and head into the spice mines. Have a lovely Labor Day, Constant Reader, and I will check in with you again later.
While it is lovely–it was quite lovely–to not have to get up and go to the office (or make condom packs, or do data entry) this fine morning, it’s also a bit bittersweet: this is the vacation time I took to attend Bouchercon a mere fifteen minute walk from the Lost Apartment. If this was NOT pandemic time, a friend would be arriving at the Lost Apartment around noonish; we’d store her bags in my car and we were going to have lunch and hang out until other friends arrived later, whom we would be joining for a lovely dinner at Coquette. I would also be checking into the Marriott on Canal Street at some point today; probably not staying there tonight, but definitely heading down there tomorrow morning as my first panel would be that afternoon. *sobs softly to self; shakes fist in fury at anti-vaxxers*
Ah, well. Things don’t always work out as they were planned, do they?
I slept in a bit this morning, which was lovely–I feel very rested and not a bit in the least groggy this morning, which is marvelous. The kitchen is a horrifying mess this morning, so once I’ve finished my coffee that’s the first thing on Today’s Agenda, among other things–first is actually making Today’s Agenda, so I can put clean the kitchen on the top of the list. The living room is also a mess; but I am going to make “room by room” the working theory of this lovely if too short vacation. I am starting small, in the laundry room today–the books! Dear God, the books in the laundry room! But if I don’t get everything done that I need to get done over this vacation–the most important thing the corrections and revisions to the book, of course, more on that later–but it feels rather nice to not have to go to the office today, or have condom-packing/data entry hanging over my head as I swill my coffee here at my marvelous new computer. But yes, this mess around my work space is a bit much–and the Lost Apartment itself is a disaster area from top to bottom. I worked on the manuscript last night some more, and am at the halfway point. But as I get deeper into the manuscript I am finding even worse mistakes than in the beginning, and some really atrocious writing. I literally was squirming in embarrassment as I corrected and cleaned up this horrifically sloppy manuscript last night. When I called it a night and started rewatching episodes of Ted Lasso (this show is really amazing; if you haven’t checked it out yet you need to) while waiting for Paul to come home. He was rather late, so after rewatching two of my favorite episodes (“Make Rebecca Great Again’ and “All Apologies”) I switched over to TCM and started rewatching The Way We Were, which is what I was doing when Paul got home and I stopped–Redford and Streisand were still at their unnamed college–and I was thinking, outside of the fact that they were clearly too old to be playing college students, there are other parts of this movie that actually would no longer fly today; I am going to have to finish watching it at some point because I want to review it as part of the Cynical 70’s Film Festival (it’s from 1973). I can’t think why I never activated the TCM app on my Apple TV before; just scrolling through the offerings last night before settling on The Way We Were was very exciting, as there are so many classics there I want to either rewatch or see for the first time (including Nightmare Alley, In a Lonely Place, and some classic Katharine Hepburn films I’ve never seen). Exciting!
Today’s Agenda also includes a short exploration trip for this book I just signed a contract for; I need to explore the particular neighborhood of the city where I am setting the book so I can take pictures and have more of a feel for the book. I’m now creating secondary characters for the regular cast (it always seems so weird to talk about books like they’re films; but blame it on all those Agatha Christie/Erle Stanley Gardner/Ellery Queen novels I read as a kid that had the list of the cast of characters at the beginning with a snide sentence or two defining who they were as people….which I miss terribly!), which I am really enjoying doing. This is maybe the most emotionally and intellectually satisfying part of writing any book–building the foundation for it with the creation of characters and the establishment of place–it’s certainly a lot more fun than rereading a manuscript and finding all the mistakes and fuck-ups, that’s for sure.
And of course I do want to spend some time with Megan Abbott’s The Turnout today, and I have to go to the gym at some point as well. MY DAY IS JAM-PACKED. But I do need to make today’s to-do list, as well as an overarching one of all the things I need to get done so I have a template to follow for my vacation daily agendas. (Rereading that last sentence made me realize how absolutely batshit insane I must come across…but that’s not telling you, Constant Reader, anything you’ve not been able to ascertain already for yourself, is it?) I also need to do some male grooming things–I’ve not shaved my face in days (thank you, mask mandates; which do not get enough credit for relieving men of the necessity to shave every fucking day) for one, and I also need to do some computer file organizing and rearranging and so forth. So many projects….which is why I need that overarching list of things to do.
And on that note, tis time to make lists and buckle down for the day. Have a lovely Wednesday, Constant Reader, and I will chat with you again tomorrow morning.
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.
Yes, that’s right–today Mystery Writers of America is presenting the Edgar Awards, live on our Facebook page. I always love when the Edgar nominations come out and when the winners are announced; I just think it’s really cool, and it’s also a connection back to the early days of the organization, back in 1945. The first Edgars were presented in 1946, making this the 75th anniversary of the presentation of the awards, which is also incredibly cool. I am a bit of a geek about this sort of thing; historical connections and so forth. I remember the first time I went to an MWA board meeting in New York–ten years or so ago (!!!)–and how awed I was when I walked into the meeting room. I could feel the ghosts of Erle Stanley Gardner and Rex Stout and Ellery Queen and the Lockridges and Dorothy B. Hughes and Anthony Boucher hovering in the room–even though it was certainly not the same room they all gathered in when they founded the organization.
I’m kind of silly that way.
Yesterday was a pretty good day; for one thing, it was Paul’s birthday. I stopped at the store on the way home from work and got a sampler cheesecake as a birthday treat (well, for us both) and we got dinner from Hoshun–what can I say, I love noodles, and Paul would eat shrimp for every meal if he could–and it’s kind of a nice, relatively inexpensive treat we both enjoy from time to time. We’ve been together for so long–this July will be our twenty-sixth anniversary–that our special days (birthdays, anniversary, etc.) have evolved into nice, quiet times where we prefer to just be with each other and enjoy each other’s company. It’s nice being married to your best friend, really.
There’s nothing I enjoy more than just kicking back with Paul and Scooter, having a nice meal, and watching something we are enjoying on television. (Yes, we finished the third season of Line of Duty last night, and it was quite excellent.)
I slept pretty well last night, and am looking forward to a nice day of working at home–I can watch the Edgar presentation while making condom packs–and while I may not have slept as deeply and well as I would have preferred last night (honestly), I feel pretty good this morning and keep looking around at my horribly messy kitchen and sigh deeply–I didn’t even make dinner last night–and the organizing and filing that needs to be done, and sigh. I did manage to get some work on the book done last night after Paul went to bed–I stayed up a little later, thinking I can’t let a day pass without making some progress on it–and I will probably do some more after work tonight. Bury Me in Shadows is starting to come together, and yes, I still think I was being much too hard on myself. The character and the story work; and the sentences/paragraphs are far easier to fix than character issues or holes in the plot, after all. I think it may just be something I’ll be proud of when it is finally finished.
I also picked up two books yesterday: Laurie R. King’s third Mary Russell novel, A Letter of Mary, and Christopher Bollan’s A Beautiful Crime, which was a finalist for the LA Times Book Award in the mystery category. I haven’t had a chance to dip back into The Butcher’s Boy, but once I finish and turn in the revision of my own book, I suspect my free Sunday will be spent reading. That would actually be my ideal for a weekend; spend one day writing and cleaning and doing errands, and then Sunday relaxing and reading.
A sixty year old can but dream…
And on that note, these condoms aren’t going to pack themselves. Have a lovely Thursday, all–and good luck to all the Edgar finalists today!
As far as summers go, I’d say this is one of the cruelest of my life thus far. (Nothing, however, including this one, has been as bad as 2005; let me make that very clear–but this one also isn’t over yet and apparently the Saharan dust storm that was hindering the formation of hurricanes is over now. Yay.)
I read an interesting piece on Crimereads about Robert S. Parker and his creation of his iconic character, Spenser, which put me back in mind of how I came to create MY character, Chanse MacLeod–who I have been thinking about lately ( I’ve decided that rather than writing novels about him I’m going to work on some novellas, and then put four of them together as a book; currently the working titles for the first three are “Once a Tiger,” “The Body in the Bayou,” and “The Man in the Velvet Mask”–I still need a fourth, and it’s entirely possible that any of these could turn actually into a novel, and I do have some amorphous ideas about what the fourth one could be), and reading this piece, which is excerpted from a scholarly tome about the genre I would like to read (Detectives in the Shadows: A Hard-boiled History by Susanna Lee), made me start thinking about how I created Chanse, and the entire process that the series actually went through over the years of his development.
It also made me think about looking at Chanse, the series, the characters, and the stories I chose to tell in a more critical, analytic way; I am not sure if I can do this, actually–while I’ve not published a Chanse novel since Murder in the Arts District back on October 14, 2014 (!!! Six years? It’s been six years since I retired the series? WOW)–which means I do have some distance from the books now, I still am the person who wrote them…even though I barely remember any of them now; I cannot recall plot points, or character names, outside of the regulars who populate every one of the books (I also cheated by using some of the same regulars in the Scotty series; Venus Casanova and Blaine Tujague, the police detective partners, appear in both series; and Paige Tourneur, Chanse’s best friend and a reporter, originally for the Times-Picayune who eventually moved on to become editor of Crescent City magazine, also turned up in the Scotty series, in Garden District Gothic and then again in Royal Street Reveillon. Serena Castlemaine, one of the cast members of the Grande Dames of New Orleans, who shows up in the most recent two Scotty books–the same as Paige–is a cousin of the deceased husband of Chanse’s landlady and erstwhile regular employer, Barbara Palmer Castlemaine).
I first created the character of Chanse MacLeod while I was living in Houston in 1989, and the series was intended to be set in Houston as well. I didn’t know of any crime novels or series set in Houston, one of the biggest cities in the country, and I thought that was strange (and probably wrong). Houston seemed like the perfect city for a crime series–huge and sprawling, economically depressed at the time but there was still a lot of oil money and speculators, con artists and crime–and the original story was called The Body in the Bayou (a title of which I am very fond, and is currently back in the running to be the title of a Chanse novella), because Houston also has bayous. I was reading John D. MacDonald’s Travis McGee series at the time, and loving them–I particularly loved the character of Travis McGee–and how twisty and complicated (if sometimes farfetched) the plots of the novels were. I had read The Dreadful Lemon Sky when I was thirteen, and liked it; but promptly forgot about MacDonald and McGee; a Book Stop in Houston that I frequented reminded me of them and I started picking them up. I had also discovered Sue Grafton and Sara Paretsky by this time, and was falling in love with the crime genre all over again, developing a taste for the more hard-boiled side I disliked as a teenager. This was when I decided to try writing in this field again–for most of the 1980’s I was trying to write horror and science fiction (and doing so, very badly).
But coming back to the field that I loved as a kid, tearing through the paperback stand alones from Scholastic Book Club and all the series, from Nancy Drew to the Three Investigators to Trixie Belden before graduating on to Agatha Christie and Ellery Queen and Erle Stanley Gardner, seemed preordained, and also seemed somehow right; writing mysteries, or crime fiction, seemed to me the right path to becoming a published author (turns out, that was the correct assumption for me to make, and one that I have never regretted).
Chanse was originally, as a straight man, a graduate of Texas A&M and a two year veteran of the Houston Oilers; an injury eventually led to early retirement and joining the Houston PD, where he only lasted another three years before quitting and getting a private eye license. He had a secretary, a woman of color named Clara, who was heavyset and in her early fifties. That was about as far as I got; I think I wrote a first draft of a first chapter which established him as having his office near NASA, in Clear Lake (which was near where I lived) and his first case was going to involve a wealthy oil family in River Oaks. Chanse was also six four, dirty blond hair, green eyes, and weighed about two-twenty. When I fell in love with New Orleans four or five years later, I started revising the character and started writing The Body in the Bayou while I lived in Minneapolis. By this time I’d discovered that gay fiction was actually a thing, and that queer mysteries actually existed: Joseph Hanson, Michael Nava, RD Zimmerman, etc. I wanted to write about New Orleans, and I wanted to write a more hard-boiled, MacDonald like hero than what I was reading. (Not that Hanson, Nava, and the rest weren’t doing hard-boiled stuff; they were–I just wanted to subvert the trope of the straight male loner-hero detective.)
Chanse was definitely a loner, and after I moved to New Orleans I once again started revising the manuscript and story that eventually became Murder in the Rue Dauphine. He was cynical about life, love and relationships, even as he was slowly inching his way into a relationship with a flight attendant named Paul Maxwell; he had only two friends, really: Paige Tourneur, who’d been his “beard” while he was at LSU and in a fraternity and was now a reporter for the Times-Picayune; and Blaine Tujague, a former one-night stand and fellow gay man on the NOPD (I changed his backstory to having attended LSU on a football scholarship and a career-ending injury in the Sugar Bowl at the end of his senior year, which led him to joining NOPD, where he lasted for two years before going out on his own). He also lived in a one bedroom apartment on Camp Street, across the street from Coliseum Square in a converted Victorian, the living room also served as his office–and that was the same place where Paul and I lived when we first moved to New Orleans.
The series and the character evolved in ways I didn’t foresee when I first imagined him as that straight private eye in Houston; or even when I rebooted him into a gay one in New Orleans. The original plan was to have him evolve and grow from every case he took on–which would parallel some kind of personal issue and/or crisis he was enduring as he solved the case–the first case was about his concerns about getting involved in a serious relationship as he investigated a case that made him realize he was very lucky to have found someone that he could be with openly; the second case was about investigating someone who wasn’t who they claimed to be while at the same time he was finding out things about Paul’s past that made him uncomfortable. Katrina, of course, came along between book two and book three and changed everything; I know I also wrote another that dealt with the issues between mothers and children which made him reexamine his own relationship with his mother.
The great irony is I probably need to revisit the books to talk about them individually, or to even take a stronger, more in-depth look at the character; maybe that’s something I can do (since I have ebooks of the entire series) when I am too tired to focus on reading something new or to write anything.
And it’s really not a bad idea to reexamine all of my books and short stories at some point, in order to get an idea of what to do (and how to do it) going forward.
So I went ahead and sent out three stories on submission yesterday; “This Thing of Darkness,” “Night Follows Night”, and the Sherlock story. Will any of them actually be accepted? Who knows, but that’s all part and parcel of the joy of being a writer who likes to write short stories despite being rarely asked to write them. I have like 86 short stories in some form of progress now, but it felt really good to write finis on these and sent them out. If they are rejected, oh well; I’ll just save them for my next short story collection.
See how that works? Staying positive is always a plus, you know?
And last night before I went to bed I checked the Pandora’s Box known more commonly as my email inbox to discover a delightful email from the editor of the Sherlock anthology that she loves the new edition of the story and is sending me a contract! How absolutely delightful. I am glad “The Affair of the Purloined Rentboy” will see print, and as always, it’s lovely to get that kind of affirmation. It’s also a period piece, which was just as daunting as writing a Holmes story set in New Orleans–the only rule for the anthology was that it couldn’t be set in London, and Holmes and Watson couldn’t be English. So I made Holmes a Louisianan–and we never are quite sure where Watson is from. But it was great fun, challenging, and very, as I said, daunting. While I’ve read the Holmes stories–and the Nicholas Meyer novels, and other stories written by modern day Sherlockians (notably, Lyndsay Faye and Laurie King), I don’t think of myself as an avid Sherlockian. Even now, I cannot think of the plot of either A Scandal in Bohemia or The Red-headed League.
So, I wasn’t a hundred percent certain I could write such a story that would be worthy of publication, but it was a challenge–and I do enjoy challenges. I like pushing myself as a writer, trying something different, seeing if I can continue to grow as a writer. (But just between you and me, the only reason I even thought I could possibly do this was because it was specified not to be canon–no London, not the late nineteenth century, no need for continuity. No, this was a way I could write a Sherlock story and make it entirely my own as well. And of course, setting it in 1916 was also a bit of a challenge for me as well; I’ve never done much period/historical writing, and since I knew, once the title came to me, that Storyville had to be involved (how else could one write “The Affair of the Purloined Rentboy” and not involve Storyville?), which presented a host of other issues. Fortunately, I’ve been reading lots of New Orleans history lately, and one of the books was about Storyville: Gary Krist’s Empire of Sin (highly recommended, by the way), and in a short story I wouldn’t have to have the ongoing detail a novel would require, so I thought, fuck it, let’s give it a shot.
I was also able to use one of the locations I often use in Scotty books, the Hotel Aquitaine, which made it even more fun for me.
So, apparently, the thinking positive thing might actually work. How lovely!
Also, yesterday I (the ever-present resident Luddite) managed to figure out how to go back and read the chat from the Queer Noir at the Bar reading on Friday night–I kept accidentally closing it, and when I was reading I never looked at it–and wow. Everyone was so gracious and kind about my reading! I’m glad, though, that I wasn’t reading the chat while I was reading because it would have freaked me out. Thank you all for being so kind.
I also started reading Kelly J. Ford’s Cottonmouths, and as I read, I began to remember why I hesitated to read it. Being from the South, and from a particularly poor part of the South, I sometimes have trouble reading about that world; because of the memories it brings back, and while Ford’s prose is magnificently beautiful, she also brought me right into a world I know so well–a world I’ve been trying to shake off my entire life. There’s probably something to be said, or perhaps written, about my struggle with where I am from; the deep pride instilled in me my entire childhood about being Southern and the defensiveness that automatically arises whenever someone else is critical of (what I still think of) as home; and how that pride also runs concurrent with a river of shame–two rivers, running parallel, a kind of Tigris and Euphrates within my soul, my psyche, my being. I’ve started and never finished any number of stories and novels set in Alabama; my files run over with them. Bury Me in Shadows is the first manuscript set in Alabama I’ve ever finished a full draft of (there are a couple of short stories I’ve finished; Dark Tide is also set in Alabama but down in a little town on Mobile Bay–which isn’t quite the same thing), and I have yet to complete it enough to turn it into my publisher. Reading Kelly’s book takes me to the same places Daniel Woodrell’s work takes me, or Ace Atkins’ The Ranger series…that inner conflict, that inability to decide, that pride of place and where I come from coupled with shame. I could see it all so clearly in my head as I read that first chapter…she may have been writing about rural Arkansas but it could have been rural Alabama. It’s real, it’s vivid, and it’s beautiful.
The rural south is savage in its beauty.
My whole life has really been about dualities; being Southern but not growing up there; closeted self v. authentic self; being a writer but also always having some other job for whatever reason. My identity has always been sort of splintered; it’s probably why I am so constantly down on myself because I never really feel whole, or like I fit in somewhere–because I’ve been outside my entire life.
And, I have found few things trigger me to dark emotion–anger or depression–than being reminded that I am an outsider.
We started watching Perry Mason, and we’re enjoying it–but it’s really not Perry Mason. It’s something entirely else, with the characters given the same names as the ones Erle Stanley Gardner used. The cast is fantastic, and it’s a terrific noir series (if a bit reminiscent of Penny Dreadful: City of Angels–which we stopped watching, for reasons that are not pertinent here), so we will keep watching–but, it’s not really the same show or characters.
And it makes me want to reread one of the originals again.
And on that note, tis back to the spice mines with me.
I wound up deciding to take yesterday off from the world–computer, social media, you name it–because for whatever reason my desktop was acting wonky yesterday morning and eventually I grew so irritated I decided to run my errands. When I got home from that further irritation–nothing like people not only not wearing masks in public but not maintaining social distance as well–and I just wanted to scream at everyone: “do you want us to be on lockdown through September? What the fuck is wrong with you?”
But then I remember–this is New Orleans and nobody follows rules here; or at least, they ignore them when they’re inconvenient. It’s sadly part of the charm here, and now that it’s something important…I see how dangerous that can be. But it was nevertheless more fuel for my irritation, and by the time I got home my computer was still wonky so I decided to say fuck it and take the day away from the computer and social media. It was kind of nice–I fell into a Youtube hole of history videos (I am really glad to be studying history again; as I’ve said before, I kind of wish I’d majored in History in college–but would have never been able to narrow down a field of majority interest). I spent most of the afternoon moving and rearranging books and filing and cleaning while this Youtube videos played on continually; I learned some more about the Byzantine empire, the plague, and the Hapsburgs–who are so fascinating to me. Let other wars, you, happy Austria, marry. Someday I’d still like to do a book about the powerful women of the sixteenth century; and many of those important women were Hapsburgs.
One of the things I’ve found interesting is how writers are engaging with their lockdown situation and their social media. Lists are popping up everywhere; and as I daydreamed yesterday while doing my chores and so forth, I started thinking about my own lists–rather than ten albums or books or movies that shaped me, I wanted to come up with more specifics: My Ten Favorite Agatha Christie novels, my favorite romantic suspense novels, my favorite crime novels by women, and so on. The reboot of Perry Mason, coming this summer from HBO (it looks worth a look, frankly; although I imagine there are any number of Mason purists who will naturally hate it; there always are), might be worth taking a look at some Perry Mason novels–I feel the books don’t get nearly as much attention as the TV series based on them; and the books don’t get talked about nearly enough, either. Talk about puzzles–Erle Stanley Gardner was a master of crime plotting, and red herrings, and confusing the reader; I don’t think I ever correctly solved a Perry Mason case until Perry revealed their identity, dramatically, in the court room (which is, of course, where that trope originated); and I do have a couple of them lying around on the shelves in the laundry room–The Case of the Calendar Girl and The Case of the Crying Swallow–so perhaps, as part of the Reread Project, I should revisit them both.
I also spent some time thinking about The Plot Against America–which is directly related to our finishing Ryan Murphy’s Hollywood last night on Netflix. Both are alternate histories, but one of the things about Hollywood is that it was an alternate history that was actually appealing; usually, alternate histories inevitably paint an uglier reality than the one that actually happened (although it’s hard to imagine a more dystopian alternate history for the present day than the actuality); Hollywood didn’t do that. Instead, it showed how horribly racist, homophobic, and misogynist the country was, and how Hollywood reflected that…and then gave us a lovely alternate history where a Hollywood studio saw its duty to change those things and open up society in the late 1940’s. It’s quite marvelous, actually; I kept waiting for reality to break over them, but it never did. It’s very well done, and it’s shot in the style of Hollywood films of the time, right up to the obligatory happy Hollywood ending. And of course, the boys were beautiful. The Plot Against America, on the other hand, was completely horrifying because it was so easy to imagine that we as a country could have gone that way. I don’t know how the novel ends–I never finished it; I have said before that I am not a fan of Roth and I never got past the first chapter of this one–but I thought the way the show ended was perfect, even if it was terrifying at the same time; it was more of an indictment of the United States (as I said to Paul, “this show is terrifying because it could so easily have gone this way here”) and humanity than anything else. Hollywood also could be seen as an indictment of the way things used to be–its message seemed to be this could have all changed so much earlier if anyone in Hollywood had the courage to make these changes–and that is just as damning as The Plot Against America.
Today I am going to write and edit and revise and get things done. I think I am always teetering on the edge on Saturdays anyway; still leftover tired and so forth from the week, and then having to deal with the general public on top of that is always draining and rough on my moods. Computer issues on top only heightens the aggravation, and being already on the razor’s edge doesn’t make it any easier. I kind of have a mess here in the kitchen that needs to be handled–I deliberately avoided my desk yesterday, so there’s sorting and filing that needs to be done around here as well–but this morning, after I finish this, I am going to abjure to my easy chair and read for a bit. I want to get further into Mysterious Skin, and then I am most likely going to move on to another Mary Stewart reread, either Thunder on the Right (which I don’t remember at all) or Madam Will You Talk?, which I have some memory of; and there are also short stories I’d like to sink my teeth into. I haven’t touched the most recent Lawrence Block anthology, which looks terrific and has some amazing contributors. I want to get my story “Night Follows Night” revised today and possibly submitted somewhere; I’d also love to get some revisions done on “This Thing of Darkness” and “Never Kiss a Stranger.”
And of course, the Secret Project. I really need to get back to work on the Secret Project.
So, yes, I have my work cut out for me today. I also should spend some time drafting the replies to the massive amounts of emails I’ve accumulated over the last day or so. And then I feel like I can face Monday with a clear conscience.
My paternal grandmother–the one who went undiagnosed for bipolar disorder until she was in her eighties; better late than never, I suppose–was also the first person in my life to encourage me to not only read but to become a writer. She also introduced me to old movies–including horror, suspense, mystery, and noir–and also was the person who introduced me to some of my favorite writers, including Ellery Queen, Victoria Holt, Erle Stanley Gardner, and the magnificent Mary Stewart. My grandmother gave me a copy of Mary Stewart’s The Ivy Tree in hardcover, saying, “This one has a huge surprise in it.”
She wasn’t wrong, either.
Flash forward a few years, and a friend in high school convinced me to read a novel called The Crystal Cave. I started reading it and couldn’t stop reading it, and then immediately went out and bought my own copy of the sequel, The Hollow Hills. The friend–Felisha–told me I should also check out some of Mary Stewart’s other, non-Arthurian novels, so the next time I went to the library, I went to the S’s in fiction and there it was on the shelf: The Ivy Tree, even the same edition I read when I nine or ten. Of course I checked it out, and also checked out Airs Above the Ground, The Moonspinners, and This Rough Magic. Spoiler: I loved them all. I would eventually read the rest of the Arthur books, buying them in hardcover when they were released (The Last Enchantment and the Mordred story, This Wicked Day), and gradually went back and read the majority of her suspense novels…but there are some, to this day, that I have not read–primarily because I don’t ever want to run out of Mary Stewart novels to read.
And now that I think about it…truth be told, it’s been so long since I read so many of these novels that I could probably reread them now and they would seem new to me. But I have reread both The Ivy Tree and Airs Above the Ground many times; I always considered The Ivy Tree my favorite of her novels because it was the first I read–but in truth, Airs Above the Ground is definitely my favorite of them all. I am including Mary Stewart in the Reread Project, naturally; but I definitely need to make time to reread some of the ones I don’t remember.
Mary Stewart is often frequently mis-categorized as a Gothic writer, when in fact nothing could be further from the truth; perhaps some of her novels (Touch Not the Cat, The Gabriel Hounds) might skirt the edge of Gothic suspense, but that isn’t what she wrote. She is also often called romantic suspense, and again, while some of the book danced close to that (Madam Will You Talk? and Nine Coaches Waiting–which, come to think of it, might also fall into that Gothic category again), she basically wrote suspense novels about headstrong young women who took charge of their situations and rarely, if ever, needed rescuing.
Carmel Lacy was the silliest woman I know, which is saying a good deal. The only reason I was having tea with her in Harrods on that wet Thursday afternoon was that when she rang me up she had been so insistent that it had been impossible to get out of; and besides, I was so depressed anyway that even tea with Carmel Lacy was preferable to sitting alone at home in a room that still seemed to be echoing with that last quarrel with Lewis. That I had been entirely in the right, and that Lewis had been insufferably, immovably, furiously in the wrong was no particular satisfaction, since he was now in Stockholm, and I was still here in London, when by rights we should have been lying on a beach together in the Italian sunshine, enjoying the first summer holiday we had been able to plan together since our honeymoon two years ago. The fact that it had rained almost without ceasing ever since he had gone hadn’t done anything to mitigate his offence; and when, on looking up ‘Other People’s Weather’ in the Guardian each morning, I found Stockholm enjoying a permanent state of sunshine, and temperatures somewhere in the seventies, I was easily able to ignore the reports of a wet, thundery August in Southern Italy. and concentrate steadily on Lewis’s sins and my own grievances.
“What are you scowling about?” asked Carmel Lacy.
“Was I? I’m sorry. I suppose I’m just depressed with the weather and everything. I certainly didn’t mean to glower at you! Do go on. Did you decide to buy it in the end?”
God, how I love this character. Vanessa March was not your ordinary run-of-the-mill heroine; look at how much we learn, not only about her, but who she is and where she is at emotionally, in that opening paragraph! We learn she is married; has had a horrible fight with her husband about having to change their vacation plans; is completely and utterly convinced she was in the right; and would rather spend time with someone she clearly doesn’t like rather than stay in her lonely apartment with her memories of the argument–which she is still angry about. But this tea at Harrod’s with silly Carmel Lacy is what sets the story in motion: you see, Carmel is divorced; left by her husband who now lives in Vienna, and she needs someone to travel with her teenaged son who wants to go see his father. Why would Vanessa be interested in making such a trip? And that’s when we get an insight into Carmel’s personality; she slyly mentions having seen Lewis in a newsreel at the cinema; something about a fire involving a traveling carnival in Austria, and surely Vanessa is going there to meet him? Vanessa never lets Carmel see she doesn’t have the slightest idea why or how Lewis could be in Austria rather than Sweden. Instead, she goes to the same cinema, watches the newsreel, sees that it is, indeed, her husband in the newsreel–he’s obviously lied to her, and then she calls Carmel and tells her she’d be delighted to escort her son to Austria.
Vanessa has no idea what’s in store for her in Austria, and yet she has no qualms about taking off for there, with a teenaged boy who’s practically a stranger to her, in tow; this is one of the reasons I love Stewart’s heroines; they were definitely not shrinking Violets, and impetuously always set off for adventure to parts unknown. The second chapter, which details the flight from London to Vienna, is another gem of a chapter. Timothy Lacy, a young teenager, cannot hide his disdain, dislike, and disapproval of his traveling companion; like all teenagers, he doesn’t think he needs an escort or a glorified babysitter. After a while, he buys a carton of cigarettes from the flight attendant, much to Vanessa’s inward amusement, and finally she says:
“You know, I couldn’t really care less is you want to smoke all day and all night till you die of six sorts of cancer all at once. Go right ahead. And as a matter of fact, the sooner the better. You have the worst manners of any young man I ever met.”
The paperback dropped to his knees, and he looked at me full for the first time, eyes and mouth startled open. I said: “I know quite well that you’re perfectly capable of traveling alone, and that you’d prefer it. Well, so would I. I’ve got troubles enough of my own, without bothering about yours, but if I hadn’t said I’d go with you, you’d have never got away. I know you’re sitting there fulminating because you’ve had a kind of nursemaid tagged onto you, but for goodness’ sake aren’t you adult enough to know that there are two sides to everything? You know you’d get on fine on your own, but your mother doesn’t, and there’s no sense in making gestures to reassure oneself, if they’re only distressing other people. Surely all that matters now is that you have got your own way, so why not make the best of it? We’re stuck with each other till I get you–or you get me–safely into Vienna and you meet your father. Then we’re both free to go about our own affairs.”
I don’t think I’ve ever loved a character more than I loved Vanessa March at that moment. It’s an excellent icebreaker, and she and Timothy Lacy–Tim–become friends after that exchange. But Tim, like Vanessa, has secrets of his own–for one thing, his father has no idea he’s showing up; has a new, younger fiancee; and no place or welcome for Tim–so without any other option, Vanessa brings Tim along on her search for the carnival from the newsreel. Tim is absolutely fascinated with horses–and Vanessa, as it turns out, is, like her father, a certified veterinarian.
I cannot say more without giving away spoilers–and spoilers in a Stewart novel are quite distressing; as part of the joy of reading her novels for the first time are the surprises she pulls on her unsuspecting readers; surprises that, even on a reread when you know what’s to come, you still can’t spot the stitching in her seamless plots. One of my all time favorite reveals in crime fiction takes place in this book–the brilliantly composed scene in which the old horse begins to dance in the moonlight, and what all that scene means–every time I reread the book I still get chills…and that’s not the only surprise Stewart pulls on the reader in Airs Above the Ground. It’s quite an exceptional thriller, with Vanessa and Tim making an exceptionally fun and interesting and witty team of sleuths trying to get to the bottom of what is going on around the carnival–and one of the best climaxes to a suspense novel I’ve ever read; then again, it’s hard to go wrong with a speeding train.
Genius, absolute genius.
And of course, being a devotee of Airs Above the Ground (which was, in fact, an Edgar nominee for Best Novel) also enabled me to surprise people with a Jeopardy! answer–“The horses known for the airs above the ground”–to which I quickly replied, “What are the Royal Lipizzan stallions of the Spanish Riding School, Alex?”
If you’ve not read this–despite it being slightly dated, you really need to.
Sunday morning, and with no Saints game today I have no excuse not to get a lot done today. It’s chilly this morning and gray outside; we still have rain in the forecast but it’s calm and quiet out there right now; perhaps the calm before the storm? Ugh, such a tired cliche–but it’s fine with me.
Yesterday I got a lot of chores done–very little writing, but the chores were necessary and of course, being the Master Procrastinator that I am; I have to have a clean apartment–or at least one that’s been straightened up some–in order to have a clear conscience enough to get work done. I now have no excuses to not get everything done that I need to get done today–but we’ll see how that goes; there’s always something.
I read another Holmes story yesterday–“The Musgrave Ritual”–which I couldn’t remember the plot of, other than remembering that it was one of my favorite Holmes stories. Like “The Gloria Scott“, it’s a “let me tell you a story” story; I really don’t remember the Holmes stories being like this, of course, but it’s something to think about as I prepare to write my own pastiche. It’s a style of writing/story-telling I’m not so certain I want to try, but then again–the entire point of me writing a Holmes story is to push myself as a writer and get better overall, so perhaps…perhaps I should try it that way and see how it goes. Anyway, as I reread it, I remembered why I liked it so much; it’s a treasure hunt story, and I absolutely love treasure hunts. At least two Scotty books–Jackson Square Jazz and Vieux Carre Voodoo, are treasure hunts.
I also rewatched the original film version of Shirley Jackson’s The Haunting of Hill House, 1963’s The Haunting, directed by multiple Oscar winner Robert Wise, and starring Julie Harris as Nell. I saw this movie long before I even knew there was a book, let alone read it; my grandmother loved old black and white movies, and she especially loved crime and horror–probably where I get it from, and she also introduced me to the novels of Mary Stewart, Victoria Holt, Ellery Queen, and Erle Stanley Gardner. I was very young and the film absolutely terrified me–to this day, even remembering the scene with the door expanding and contracting unsettles me. I was, of course, quite delighted as a teenager to discover it was actually a novel (I had read Richard Matheson’s Hell House, with it’s similarities to The Haunting, year earlier and wondered if he’d gotten the idea for the book from the movie), and it quickly became one of my favorite novels of all time; in fact, I believe it was Stephen King who introduced me to the novel, because the opening paragraph was an epigram to ‘salem’s Lot. But I hadn’t watched the film in years; I’d watched the horrible 1999 remake, and of course the Netflix series loosely based on the book (I do recommend the series, it’s fantastic, once you get back the fact that it’s not a faithful adaptation but kind of fan-fiction; it didn’t even have to be Hill House for the story to work, but that’s a subject for a different blog. I do recommend it, though). Julie Harris is perfectly cast as Nell, and Claire Bloom does an excellent job as Theo. There are differences between the book and the film; why they changed Dr. Montague’s name to Dr. Markway is a mystery, and the later third of the film, after his wife arrives, is vastly different from the later third of the novel, and her character is completely changed; the young man who escorts her to Hill House is also excised from the movie. But the way the film is shot–the use of light and shadow, the up angles of the camera, and the ever-so creepy claustrophobia of the enclosed house–is absolutely terrifying, and you never see what is actually haunting the house. That was the singular brilliance of the book, and Wise kept that for his film (the execrable 1999 remake went completely over the top with CGI effects and so forth; ruining the necessary intimacy of the story). I still think of it as one of the scariest movies I’ve ever seen, and on a rewatch–the way you hear Nell’s thoughts, whispered, while Julie Harris’ eyes dart around–adds to the intimacy. I think that interior intimacy is a large factor in why the book is so fantastic, and why both book and original film work so well. The Netflix series does show the ghosts of Hill House, but it’s also done in a very subtle, unsettling way, which is why I think I liked it so much.
I also was thinking about rewatching Anthony Minghella’s film adaptation of The Talented Mr. Ripley, but decided to hold off until I finish the reread of the book–which I am still in the midst of–I want to finish it before my trip this week, because I want to take two different books with me to read.
I did finish my reread of Kirkland Revels by Victoria Holt, which was much better than I remembered, with it’s haunted monastery and ghostly monk haunting the big manor house. It’s also a terrific novel about paranoia and gaslighting; the ultimate evil scheme behind everything hinges on the heroine of the story being eventually committed to an insane asylum, and hopefully miscarrying her child, or it being born dead as a result of the confinement. Holt novels often hinged on the possibility of insanity being genetic–if the mother is insane, her child most likely will be as well–and this horror, which was probably very real in the nineteenth century, makes this book terribly unsettling. The main character, Catherine, is very strong-willed and intelligent, but she marries a man without meeting any of his family, moves into the family estate (Kirkland Revels), and then he dies in a fall from a balcony, and she returns to her father’s house; only to have to return to Kirkland Revels when she discovers she is pregnant. The combination of vulnerable and pregnant heroine being gaslit into believing she is insane was pretty unsettling to me when I originally read the novel; which is probably why it’s one of the few Holts I never took down from the shelf on a rainy afternoon and reread. Rereading it, thought, makes me appreciate the mastery apparent in Holt’s writing. She never again wrote another novel with a pregnant heroine–while some of her later novels did involve pregnancies and/or motherhood (On the Night of the Seventh Moon, The House of a Thousand Lanterns) the mystery, and the plot against the heroine, never occurred during the pregnancy. Romantic suspense, and its twin sister, domestic suspense, were a kind of “women’s noir,” in that the stories always focused on what were seen as the biggest fears for women–marrying the wrong man, danger to her child, not being able to trust your husband–were the recurring thread through all of them.
I also did manage to get some work done on the new project yesterday, which was lovely and my goal for the day. Not as much as I would like–I wouldn’t be me if I didn’t fail to achieve everything in a day that I wanted to–but enough to be satisfactory. I also came up with an idea for another Scotty, one that takes place down in the bayou–Cajun Country Cavaille–but whether I’ll write it or not remains to be seen. But I’d like to address the loss of the Louisiana wetlands at some point in print, and writing about a (probably fictional) version of Lafourche and Terrebonne parishes is probably the best way to do that; I just don’t have a murder mystery to hang the story on. My interest in the Scotty (and possible resurrection of the Chanse) series is expanding outward from New Orleans to the rest of Louisiana; I’ve come to realize that not only do I love New Orleans but I also love Louisiana, frustrating and irritating as that love can be sometimes. Louisiana is so beautiful…I also want to write about the Atchafalaya basin sometime, too, and of course let’s not forget the infamous Bayou Corne sinkhole no one talks about anymore…and of course there’s Cancer Alley along the river between Baton Rouge and New Orleans, which is also begging to be written about.
And on that note, perhaps it’s time for me to head back into the spice mines. Have a lovely Sunday, Constant Reader.