Is Crime Fiction Too Cautious?
John Connolly, the Irish author of BAD MEN and other novels, has an interesting post on his blog describing Harrowgate’s Unique Voices panel; Connolly questions whether there any unique voices in crime fiction or if the genre is being compressed by commercial needs into a take no chances rut. Hat tip to Sarah Weinman for linking to Connolly’s blog and thoughtful comments by Sandra Ruttan and Laura Lippman in particular pointing out the realities for both a new author, Sandra, and a veteran, Laura.
It’s difficult to know whether Connolly is serious or being contrary for sport. The example he gives of Jeffrey Deaver’s historical novel GARDEN OF BEASTS not selling well in the US because Deaver deviated from his formula lacks context for the larger argument. Connolly asserts that GARDEN OF BEASTS is Deaver’s best book, but the novel’s setting, Nazi Germany, has been done, and possibly, readers are tired of that fictional environment. Connolly makes the valid point that established writers have the clout to experiment but career counselors might object to that idea. Imagine the consequences if Stuart Woods or latter day Robert Parker were to attempt a story like Bel Canto or a book such as CASE HISTORIES? I suspect those novels were not first drafts although BEL CANTO might have benefited from a Woodsian excursion to Palm Beach, and THE SHINING PATH from being a seventy five foot motor yacht.
Viewed that way Connolly’s idea is frightening. It would wreak havoc with ghost writers who’ve mastered the Patterson novel and now are expected to push into terra incognita with only an outline and a portable tooth brush. That’s anarchy, John, enough to send big box buyers screaming into the parking lot.
August 4th, 2006 at 2:36 pm
I think there are unique voices in crime fiction (though I am not a fan of Deaver or J. Connolly). I think it is a mistake to equate that concept with selling, though.
Sara Paretsky is one example.
Of course many best-selling crime fiction books are formulaic (Coben, M. Connelly, J. Kellerman and so on) but I’ve chosen these examples because all three of these best-selling authors have become best sellers via a character; all of them have switched to new characters/stand alones, and all of them have sold well. If you want to use selling as a yardstick.
Without wishing to sound mean-spirited, I found J Deaver and J Connolly’s books just not that good. (I read one of Deaver’s and three of Connolly’s).