Julia Spencer-Fleming: We've been talking about superstorm Sandy along with mysteries this week, but today's guest, Timothy Hallinan, is a little removed from all the drama - he's in Bangkok, where he lives for half the year (the other half he's in LA. I, for one, am jealous.)
Tim is prolific - He's written ten novels, edited two story collections, and he teaches writing. His free online course, FINISH YOUR NOVEL, is a fantastic resource for aspiring authors. But even a seasoned pro might blanch at the prospect of starting a new series by publishing three novels in November, January and June. What's his inspiration? Easy. He likes to hang out with crooks.
Like all crime writers, I love crooks.
And they frighten me.
I love them because they're so much
fun to write. They make up their own rules. As children they paid
no attention to the hopscotch squares chalked on the sidewalk, and as
adults they pay no attention to the Ten Commandments and the million
lesser laws the Commandments spawned. They bubble and seethe,
crablike, with malicious energy. They don't have to be politically
correct. They can offend people.
They frighten me because they have a
way, unless they're watched very closely, of walking away with my
book.
Our heroes have to behave, at least
until we've pushed them to extremis. Even then, most of the time
they can't get any fun from damage they do. That might lose the
reader's sympathy. Our crooks, on the other hand, can win at chess
by sweeping the pieces off the board and then shooting the person
sitting opposite, shrugging it off as a striking variation on the
Sicilian Opening.
We've seen this taken to unfortunate
extremes lately, especially in the serial-killer genre, with sadism
and murder serving as straight lines for Schwarzenegger-style
wisecracks. I think this is dishonest writing and actually violates
the writer's agreement to take the reader's intelligence seriously.
On the other hand, some of these books sell quite well, so what do I
know?
But I understand the appeal of that
energy. I have to admit that I'll be digging away at a book, trying
to figure out where in the world I'm tunneling to (I don't outline
and generally have very little idea what's going to happen until it
actually does) and all of a sudden the crook tears open the page and
climbs through the hole, and I experience a burst of electricity.
Crooks and villains seem to bring their worlds with them, while I
feel as though I have to work to fill in the worlds of my more
sympathetic characters. In the fifth Poke Rafferty book, The FearArtist, we don't get anywhere near the villain of the piece until
page 141, if you don't count a four-line exchange of dialogue in the
second or third chapter.
All the villain, Haskell Murphy, does
in his first close-up is get off a plane, climb into the back of a
car, and be driven to his house, and within the four or five pages
that drive took, I learned so much about him that I had to rewrite
the first part of the book. That's energy. It felt like I'd been
digging away at the story with a tablespoon, and all of a sudden I
was holding a jackhammer. Murphy even brought a whole new character
with him, his daughter, whom he calls Treasure, and she changed not
only the ending of the book, but also the book I'm writing right now.
But, as much fun as he was to write, I
couldn't give Murphy the book. It's a series, and most readers
expect the really important series characters to be alive at the end
of the book. If I'd given Murphy his head, it would have been
Armageddon.
So I'm dealing with it. I'm dealing
with it by writing a new series with a hero who's also a crook, a
burglar named Junior Bender who moonlights as a private eye for other
crooks. When a crook gets ripped off, he or she is not going to call
the cops. They're going to call Junior.
I wrote the first two Junior books,
Crashed and Little Elvises,
as ebooks, but pretty much the moment I
finished the third, The Fame Thief, they suddenly got picked up for
everything – publishing (Soho), film (Lionsgate), and audio
(Blackstone). So the fun I had writing them is apparently detectible
on the page.
Right now I'm writing the sixth Poke
Rafferty book and the fourth Junior Bender (all of the first three
will be published by June) and I'm hoping that the energy will
average out between the two series. As much as I love writing the
Pokes, they're less fun (read: harder work) than the Juniors. Almost
everyone in the Juniors is crooked to one degree or another, and
they've all got that energy. Writing them is like playing with
matches—the old matches that would strike on anything. I never
know when the page is going to catch on fire.
Crooks. What would we do without
them?
What are your favorite crooks, creeps and villains, dear readers? Let us know, and you may win one of two copies of the first Junior Bender mystery, Crashed, or a copy of the latest Bangkok thriller, The Fear Artist.
Timothy Hallinan is the Edgar- and
Macavity-nominated author of the Poke Rafferty Bangkok Thrillers, the
Simeon Grist Mysteries, and, now, the Junior Bender Mysteries, to be
published beginning this November by Soho Crime. Hallinan also edited
the ebook SHAKEN: STORIES FOR JAPAN, which raised money for Japanese
tsunami relief, and and MAKING STORY: TWENTY-ONE WRITERS ON HOW THEY
PLOT, the first in a series of TWENTY-ONE WRITERS books for aspiring
novelists. Tim blogs at The Blog Cabin. You can follow him on Twitter as @TimHallinan and friend him on Facebook.